a great review from Chris U.

After a few weeks of thinking about this recent Archive upload once day I finally sat down to do a side-by-side comparison between it and the 24bit Charlie Miller transfer (123577) https://archive.org/details/gd1972-11-19.123577.sbd.gans-miller.flac24).

This transfer:

SBD > Master Reel > Revox A77(Menke) > A77(Pat Lee) > Transfer Info: Technics 1506 w/Lamb Labs Dolby decoder > WAV (24bit/96k) > Apogee Mini Me 24/96 > Apogee Mini DAC monitoring and mastering > FLAC

Miller transfer:

SBD -> Master Reel -> Reel (7.5ips 2 track/Dolby B); Transfer Info: Reel (Dolby B Decoded) -> WAV (24bit/96k); Mastering Info: WAV (24bit/96k) -> Adobe Audition v3.0 -> Samplitude Professional v11.2.1 -> FLAC/24

It seems there is an extra generation on this transfer relative to Miller's (one additional Revox A77)? And some different Dolby decoding equipment, perhaps.

In any event, I prefer the Miller version by a hair because I think the pitch is correct (a tiny percentage faster than this version) and it sounds a bit less "noise-reduced", for whatever reason.

Your mileage may vary but you'd have to work pretty hard to not get incredible enjoyment out of this show. The band is obviously having a great time and. Not only do you get a blistering 20+ minute playing and a heavy Dark Star but you also get "Tomorrow Is Forever", a personal favorite country cover penned by Dolly Parton.

The following is excerpted from the March 1972 Playboy Interview with Garcia, six months or so before the Dead debuted their version.

------------

Jerry, dark eyes suddenly aglint behind his dandelion-yellow-tinted glasses, hollers "Eureka!" or "Aha!" or whatever and plunges his hand wrist-deep into a disordered stack of albums and comes up with ... no, no, not Joplin, not Grace Slick, not Joni Mitchell or Joan Baez or Laura Nyro, not even Tina Turner or Big Mama Thornton, but ... Dolly Parton?

Who'da thought it? Who'd ever have supposed that the favorite girl singer of the spiritual leader of the Heaviest Rock'n'Roll Band in the Known World would turn out to be my favorite girl singer ... Dolly Parton, the fairest wildflower that ever bloomed in Tennessee, the best female country vocalist since the prime of Kitty Wells? Far --how do you say? -- flung! Far f*ckin' flung!

Jerry's at the turntable now flipping switches and adjusting dials, blowing invisible dust off the record with French maid fastidiousness, delicately plucking up the tonearm, catching it the way one might pick up a small but outraged serpent, with two fingers just at the base of the skull, gingerly almost to the point of reverence, and a moment later the room is filled with the exquisitely melancholic strains of Dolly Parton's mourning-dove-with-a-broken-wing voice, keening,

"In this mental insti-too-shun,
Lookingo ut through these arn bars..."

It's her beautiful "Daddy Come and Get Me," about a girl whose husband has had her committed ("to get me out of his way"), and when Dolly comes to the lines "It's not my mind that broken/ It's my heart," Jerry Garcia, standing limned in soft morning sunlight before the arched front window, turns to me and... remember now, this is the Jerry Garcia, Captain Trips himself, the same Jerry Garcia who only 12 hours earlier utterly blew out 3000 of the most jaded, dope-devastated heads ever assembled even at the Fillmore (Dead fans are notorious in that regard) ... that Jerry Garcia turns to me and clasps his hands to his breast and rolls his eyes after the goofy, ga-ga fashion of a lovesick swain and utters an ecstatic little moan and swoons into the nearest chair... and for the next half hour, while our breakfast turns cold in the kitchen, he and Hunter and I sit there in the living room tokin' on a taste of Captain Trips' morning pipe and groovin' on Sweet Dolly's bucolic threnodies about lost loves and dying lovers and stillborn babes, and by the time her last words ("O Robert! O Robert!") fade into silence, I swear to God there's not a dry eye in the room....