Thia is an absolutely amazing NYE show.Great energy,great playing and all thats great about 76 Dead.

Now that the NYE party was back, Graham went bigger than ever. He rode through the crowd on a giant onion-dome float dressed as Father Time (launching the tradition) as hundreds of balloons dropped from the rafters (as usual). When it reached the stage a lighted sign "1977!" dropped behind the band as they broke into Sugar Mag. The dome peeled open and diapered Jim Haynie and Ken Kesey jumped onto the stage and danced as various slide images were projected. Kesey soon traded the constraints of the year's birthday nappy for his personal birthday suit as doves were released. Graham had been throwing NYE parties every year since the mid '60s - usually with the Dead involved or, later, headlining. However this initiated the riding-in-on-a-float tradition, which caused thousands on the floor to be squeezed intensely as the seas were parted for the vehicle - although, kind of similarly, in '68 a Black dude on a white horse (who?) and Jim Haynie on a black one rode up to the stage wearing diapers (so that Graham could influence Steve Rubell). Once on the floor at one of these was enough to learn to sit in the stands the next year.

As a whole the bacchanalian NYE parties didn't always have the best playing, except for flashes, but here and there the band hit serendipity and certain sets stand out
(1st set '86, most of '87, 3rd set '78, 2nd set '72), like this incredible 2nd set - in fact it's a great show regardless of the event to which it is coupled. Oddly, this was a stand-alone NYE and the first show in over two months. And, after another two-month break comes the famous Swing show. Santana opened. They soundchecked with River Deep Mountain High, and though it used to circ it's not on the Archive. The show is probably best known for the Eyes, and somewhat the Playing, but with the 2nd set alone clocking at 2½ hrs, there's plenty more here.

First Set. It's average getting going, though the solo for Bertha is brilliant, but technicolor bursts at They Love Each Other. Yeah, great versions in '76/'77 are as common as patchouli on a spinner, but this one is kinged; mainly Keith makes it. After some GOGD comes the notable Playin'. Some have said that this is like a '74, but I hear the '73 jazz stuff in the center. There are several distinct sections and some great Phil. It's just a standout Playing (of which there are a dearth in '76).

Second Set. Sugar Mag starts strong, warming up for the famed Eyes. Spoiler - this is going to sound a bit different than you expect. And it's just got X Factor spilled all over the sponge. The hollister_15114 source is better than the official for Wharf Rat. It has a very fine end jam. Then the drummers vamp while they talk it over and decide on Good Lovin'. This is only the second outing since '74, and only the 3rd-ever sung by Bobby (remember Pigpen and Jer also sang this). Perhaps it's not the tightest, but it's more fun than hash brownies at a second wedding; and experimental, with a unique but practiced-sounding jam in the middle, and another one-off going into Samson, bit by bit. The latter starts unusually downtempo. Ophidian, it reveals its genius - though not unlike the Tower Theater in June. Scarlet is also nothing to trifle. The main section is great and the end jam slowly turns unique and cool. Around & Around is average but the Help on the Way - man this might be the best of late '76/ early '77. It's unsane; and note that there isn't really a Slipknot!. The Slipknot theme is only used for 30sec, then another unique jam follows, with marching cadence and quiet noodling (albeit the theme is very briefly teased by Jer@9:40). The jam devolves until it's Phil & the drummers for a minute, then just the drummers for half a minute, before segging into Not Fade. Dew is a long, massive, slow-builder. It's dynamically dramatic, but '77 is not the best year for Dew. Even Donna is great on One More Saturday, which, though it's not a problem, is not the most rocking (3am tiredness?). After that KSAN ended broadcast, so the last two didn't circulate during the B&P era, though they are appended on the archive with an AUD, so I guess one source might have. Uncle John's is average until the end of the jam, but was welcomed as the first in a couple years. The same was true for Bid You Goodnight, but it was 2yrs again until the next. It's a super version, with drums, piano and bass.

1st Set:  C+
2nd Set: A-
Overall = 4 stars

Highlights:
They Love Each Other - patchouli on a spinner
Playing in the Band - wonderful sections and '73 jazz if yr lucky
Eyes of the World - well-regarded and some unexpected
Good Lovin' - now a Bobby tune; with a unique yet practiced-sounding jam
Samson & Delilah - ophidian and spunk
Scarlet Begonias - even more unique jamming
Help on the Way>Slipknot-ish - premium; opulent
We Bid You Goodnight - ticks all the boxes

SOURCES: The warner_18524 & the sbd_winters_18524 are both the FM broadcast. The hollister_15114 sounds slightly better on the majority of tracks. but less so on others. Like the official release of the show (Live at the Cow Palace) it runs fast, needing -1% pitch for about the first half (the official needs -1% for the 2nd and 3rd discs). The official also cuts several minutes of tunings at a time. Some of the other sources are pitched slow (and are the FM broadcast, even if they state otherwise). Eyes is also on the Music for the Planet compilation. Isn't there an old vinyl boot of this show as well?

This Charlie Miller version is clearly my preferred source. It is funny that it has so few hits. The show is as remarkable as the set list. Though from Good Lovin on-yeah, oh yeah. The Good Lovin starts with a bit of that Bo Diddley rhythm to let you now it is on. The vibe continues into Sampson. I was lulled into a comfort zone and looked up about halfway through Scarlet knowing that there was something for the ages going on here. Then onto Around and Around which is a slowed down version. Initially I wondered if it would kill the energy-No way Jose. This is how they were playing it in 76, with tasteful fire and restraint. The mix has all boys mixed in right. Keith brings his A game and compliments Jerry nicely throughout, but especially in Morning Dew. I love Jerry`s tone on this occasion. The best of 76, hmmm maybe, but really I may have to give that accolade to one of the early June shows. I`ll close my eyes and throw a dart at one of the Boston dates. Anyway, don`t overlook this as the 2nd set is actually 77, but really retains what was great and exceptional about key 76 shows:Restraint and Tasty without a loss of vitality.