Related Music question-dark

Versions - Different performances of the song by the same artist

Compilations - Other albums which feature this performance of the song

Covers - Performances of a song with the same name by different artists

Song Title	Versions	Compilations	Covers
tuning
Gimme Some Lovin' >
Dancin' In The Streets
Good Time Blues
Iko Iko
My Brother Esau
It Must Have Been The Roses
equipment break
Cassidy >
Might As Well
Samson & Delilah >
Crazy Fingers >
He's Gone >
Smokestack Lightning >
Drums >
Space >
The Other One >
Comes A Time >
Around & Around >
Not Fade Away
encore break
encore1 I Need A Miracle >
encore2 U.S. Blues

Notes

** missed start
## The entire first track had technical difficulties in the Right channel so I patched the left and made it mono.
& half way through a loud PA crackle occurs


the story:
As I was not at these shows this is more of what I have been told between the contemporaneous stories and those from years later. The previous weekend the tapers had been told not to try to go FOB at the Frost. Therefore Mike and Kenny chose to ride it out alongside Aaron's crew and patch in to their customized microphone, pre-amp and dbx noise reduction system. All the credit goes to Jaime Poris and James Olness who were some of the west coast tapers who comprised what I term the "second wave" of Grateful Dead recordists. These guys came of age in the late 1970's to early 1980's when the game was all about sneaking in the gear. By this time in 1986 Dan Healy had created the OTS (Official Tapers Section) and for certain tapers often correlated to certain venues this became a grand audio engineering experiment of "best practices" for recording live soundfields.

The setup they used for these shows was a customized Nakamichi 700 microphone with each omni capsule placed into plexiglass plate for increased frequency response. Also using a custom microphone pre-amp instead of the onboard Sony TC-D5M preamps. This signal was fed into a dbx224 customized for battery power and then into a splitter box which had both a dbx and Dolby output. This recording's master originated from the dbx output side then decoded for this first gen copy. These are truly unique recordings which sound equally as good as all the fancy words spent describing the gear.

For an imgur link to an Audio Magazine January 1988 edition discussing the Poris/Olness set-up: https://imgur.com/a/ELRxIKC