yeah, this is the good stuff..
Vocal drop-outs late 1st set- just listen to the jam.

I always enjoy the full WRS but this one really hits home for me...despite a vocal flub or two.

There is some great high-energy jamming in this show, a really fun listen.

I always appreciate Donna's harmonies and on later Scarlets her trippy moaning at the start of the jam was usually pretty cool (to me). Not a fan of the way she screams on (a la Playin' ) in this one though... I guess that's the only low point I'd point out on this show, though it is cool to hear that song in it's early stages.

Thanks to all involved in bringing this to my ears today.

@barreramusic - When there are multiple Charlie Miller sources, usually the one closest to the top, the latest source, is the best. Occasionally, CM will figure out a way to correct a sonic issue or some sort of pitch problem and he will post an updated source.

This show sounds amazing. The performance is amazing. Welcome to Portland '74.

When there are 3 Charlie Miller copies of the same show, how is one to know which one is his best copy? Would someone answer this, please?

5/19/74

I listened to some of the other recordings for this date and was thrilled that Mr. Charlie laid his artistry to work here. As tough as the sound is early in set 1, hang in with Mr. Charlie for he does not let us down! This is an energy-packed show almost throughout that is more reflective of ’77 Dead than ’74 at many junctures.

The first set closes strong with a strong and upbeat China ~> Rider. Billy sets the pace early and Keith tickles up some funk for an enjoyable rendition that launches—with ’74 assertion—into a Jerry-noodle jam, through a giddy Feelin’ Groovy jam, and then back on “track” for a solid IKYR. Listen for Billy personify the “Engine that Can” at the end of IKYR, ripping away with gusto.

Set 2 kicks off fast with Promised Land. Bobby’s vocals are prominent, but sounds reasonable good compared to many show openers where he can come off flat. Billy dominates the entire set, but Keith is also on fire and Jerry plays off him well. The intensity careens into Bertha which upholds the blistering status quo. Phil signals he’s ready to see the fun continue with a machine gun intro to GSET, which is executed powerfully and sung with vigor. Jerry’s leads blaze, but to be honest I wasn’t sure where to focus my attention as the full band is ON.

Jerry takes the band down a notch in SOF, which is a bit too fast IMHO. For perspective, listen to the elegance with which Jerry plays a frenzied Cumberland Blues on 3/24/74 and then woos us immediately with a tranquil Stella. Coming back to SOF, Jerry’s voice seems to try to take it down a notch, but the rest of the band is still amped up a bit too much.
Bobby takes the cue for mellow by kicking off a beautiful intro to WRS complete with some great vocals. Bobby manages the song throughout, holding the band to an elegant and subtle buildup. The beast, however, is restless and ready for takeoff. They hold the ferocity in check for the first solo but continue to play tight. Bobby gets lost in the words and as the band launches into the second jam, it sounds as if they will digress into a Playin’ style jam. They come back to finish LIG and then Keith, Jerry and Billy take the band into a muscular exploration before coming back down again for the story of August West.

Flashing forward to Trucking, the band enters the jam on a fiery pace, clearly out to see what they can drum up at light speed. The jam takes on intensity not unlike what will be seen three years later at Barton Hall during the legendary Dancing in the Streets. Keith leads into what sounds like GDTRFB, but Jerry has other thoughts …

The lighting finds its way into a unique MLB jam which should be heard. Like the rest of the show, the band’s hyperactivity resonates. Wildly tight, however, the band (mostly … sans Billy) pauses intermittently as if they had practiced for this moment all their lives. Jerry’s guitar screams the leads to only to stop abruptly. The effect is infectious. Billy, not willing to leave any energy behind, takes the band into NFA~>GDTRFB.

The NFA jam is great with possible hints of Nobody’s Fault at the end. There’s also a wonderful interplay/duel between Keith and Garcia at in the last 30 seconds of the track that’s worth listening for. Garcia’s (and even Donna’s) voice is elegant on GDTRFB and the band delivers a deliciously upbeat version.

The band rolls out rockin' versions of OMSN and US Blues, whipping the crowd up into a frenzy that must have been memorable for the town of Portland on that Sunday night in 1974.

the music of the grateful dead is my religion. THANK YOU JERRY, PHIL, BOBBY, BILLY, MICKEY, RON, KEITH, DONNA, TOM, BRENT, AND VINCE.

This show is top drawer! the boys sound epic, as is the case with most shows from '74. jerry's talent is still peaking as he contiues to shred. the poignancy and lyricism of his leads are ... well, just check out BTW... and his vocals are still sweet. phil and billy are amazing: sick lead bass and tight, ripping measures, respectively. Billy's work has always been incredible and i place him in my top 5 drummers list which includes elvin jones, keith moon, and ginger baker. keith's work is lovely (love me some keith!) and donna sounds fine. bobby, imho, kills (especially in 1974) with audible lead rhythm guitar licks that remain unrivaled - beautiful work.

I finally got DSL a month ago. lost all my bootleg cassettes in '06 and this archive has given me the will to continue living, lol. i listen to it during all my waking hours at home. kid in a candy store? to whom it may concern: thank you, thank you, thank you.

charlie miller is a god!!! mr. miller: THANK YOU a million times over.