Quick 2-month return to the Chicago Auditorium, though with a new man on keys. Such rapid changes for this band - Mickey leaves, then Pig can't tour, then Keith joins. Weirdly, having been FM broadcast didn't make this one circulate well, and the next night is a recent discovery (Blair claims this show was commonly traded - maybe it just never hit my circles). I am with consensus that this show is better than the following night (on Dave's #3) and probably better than 10/26 (Download #3) and Halloween (Dick's #2). It should be no surprise that Keith got better in the next couple months. 16 of the songs were played both nights. Though that was standard, pre-'71, this is the only post-'70 tour like that and it must have been in part for Keith's benefit. They didn't do that for Brent! The 2nd set is short at just over 1 hour. The venue was so paranoid after having the Dead in August that the house lights were on for the whole show, and extra, flashlight-bearing security..

First Set. Truckin' is a bit of a clunky start (for some weird reason Dave's 3 inserts parts of the patter from Loser>BioDtL & Jack Straw>Cumberland). Loser-SS is better the next night. "Sweet 16 is the magic number - if you don't believe us, just watch" (Beat it on Down the Line-16; better tonight). Tennessee Jed is way uptempo. It's the 2nd one and in GOGD fashion, Jer plays a unique one. Playin' is not the tightest but with fine energy. Bob and Jer duel on Big Railroad while Keith barrelhouses and Phil sweeps underneath. They get tighter on this one in a couple months. There is a lot of Wow & Flutter on Jack Straw (on the official release as well), combined with way out of tune guitars - Jer says "If you want professionalism we'll have to charge another buck". Jer keeps going during the verses of Cumberland. They played it every night on this tour - probably because Keith centered it so quickly. '71 was the year for Comes a Time. This is the 2nd one wth the early arrangement and tempo. Mexicali was also different for awhile as they put Keith upfront. Dave's makes Frozen Logger a separate track- even though it's just a half-formed snippet (and puts it before Dark Star for no apparent reason). Jer really reacts to Keith on CR&S, playing bouncier than usual. His great, biting Strat tone of '71 really stands out here. This is also the 2nd Saturday Night and the early arrangement (with "can't see reason one") where the Berry influence is more obvious. Jer takes an extra measure but Bobby tries a metal yelp pre-Mano Cornuda. Jer's fills were so good so quickly on premiere songs in '71.

Second Set. Casey Jones has the beginning cut on all copies. Me & My Uncle is better this night. This was Keith's 1st-ever Dark Star and he's great. There are only a dozen in '71 and 7 with Keith. It has a Feelin' Groovy Jam @12:45. Only two ever went into Sittin' on Top of the World (the St. Louis is in an Other One). They brought it back for Keith when they were woodshedding - there were only 6 in '70. It's not the best of them but it has the "Don't come here running, holding out your hand". Jer forgets the back nine of the couplet. There's a great segue into Me & Bobby McGee but the next night is better. Brown Eyed Women had premiered here in August yet this is only the 3rd one (though 2nd with Tumble Down Shack bridge and Jer singing). Ramble On Rose is also the 2nd, way uptempo, and Billy tries it differently ("Local county line/far side of hill). What is the explosion @2:21 on Sugar Mag? It gets away from them in a couple places. St. Stephen is not one of year's best (the jam is okay). Keith was on it 3 times until they dropped it for 5 years. There are only so many ways you can play the Berry lick once you fret the position, yet on Johnny B. Goode Jer sticks in these cool little statements.

1st Set:  B-
2nd Set: B-
Overall = 3½ stars

Highlights:
Tennessee Jed - one of the tour's best; unique
Cumberland Blues - Jer fills and fills
Ramble On Rose - better of the two nights
Johnny B. Goode - one of the best of '71

SOURCES: The balance is a bit off on the miller_112086 and it has a bit less clarity than the Bertha/Ashley - except on Casey Jones. Half of the show is on Dave's Picks #3.

I really like Jerry's solo in Me and Bobby McGee.

Nice performance. Exellent remaster by Jay.

Any talented musician with two hands, such as Keith, could easily play the organ AND the piano at the same time. Listen to Keith the kid is amazing. Remember he would be about 22 or 23 years old at this time!

The keys are being played by Keith Godchaux. It was his second show I believe and he's playing Pigpen's organ, not his piano. Pigpen is absent but the show hints pretty strongly at what was to come in '72. Nice recording, check out Oct. 19 for more of the same.

Tom Constanten played keys with the Dead on and off. Since I don't hear Donna Jean, I'd assume it was Tom C.

Also, tear-jerking Comes a Time!

Artistically remastered presentation of the GD with their new keyboardist, Keith.

No Pig in this show. He is ill. Supposedly.

Really, really, randy Jerry and Bobby throughout.

Phil and Bill are relentlessly unforgiving in soprano-ing our remaining sensibilities, et al.

Yet, despite all such prescribed guitar dispatch there remains a Pigpen-like organ part indelibly intact. How does that compute? Weir just announced there's no Pig on the premises?

Well, all I can say is that perhaps this is a mistaken recording for this date. If not, Weir just didn't realize at the time that Pigpen had slipped back on stage to add some organ presence.

If that pre-supposition cannot be assimilated, all is left to conclude is that Keith was playing some Hammond B-3 on this night.

"If you want professionalism we'll have to charge another buck, shit, like, y'know?"

...Said the bearded man with the guitar