Not bad for 94.

I joined the cult late although I saw my first Dead show in '67, there were other things grabbing my attention and I knew all these shows were in my back pocket for tomorrow and I'm so grateful they are available as flacs etc. So my ears come from a different space, think Sun Ra. Anyway I probably liked Vince better than your average dead head. This is a jam that worked on several levels, still true to the Dead tradition, none the less state of the art midi synths, Jerry and Vince for sure maybe Bobby too. Those are sampled Gegorian Chants from the time before Bach, when music was Just and modes were the mode.

Fudoki,

By all means if you can convince one of the experts to matrix my recording with a board I'd love to hear it! Thanks for the kudos, taping FOB was always a labour of love of the GD! :)

Next to the Hartford 3/19/90 Drumz, this Atlanta version was the best of the modern day "Drums/Space" sequences I ever heard. At the time, I remember being bummed about the "Comes a Time" tease, (would have been my one and only) But, that bummed-ness was quickly forgotten by the wonder that the next 30 minutes would bring. This show, and the aforementioned Hartford show were the only 2 times that I was actually "scared" (assisted by pharmaceuticals, of course) during the performance. As if Mickey and the boys were summoning up some sort of magic from a very dark place. Perhaps they were...

It's almost impossible to describe the crowd at this show. I was one of those folks in the front couple balcony rows above the Taper's Section making fools of ourselves.

The Band just got so red-hot in the second set, and none of the other recordings capture the absolute bliss that was occurring.

This recording does this beautifully.

Kudos on the clarity and obvious microphone investment! I just love where the crowd is screaming and clapping with every riff in some spots.

This recording also captures the awesome weirdness and intensity of the Drums/Space. At a couple points I was holding on for dear life - but that was partly a pharmacological issue - this recording captures the way the show really sounded from where I was sitting.

If only one of the experts like hansokolow or SirMick could take this tape and Matrix it with one of the crisp, clinical mixes - like the Larson-Gardner one - it's beautiful (or the Italian three CD version "Dead in Atlanta" which is not as good - but still 98%), but no crowd; can't feel the *punch* that was in the band's rhythm a couple times in the first set and almost continuous through the second set. You have some nice mikes my friend!!! Thanks so much!

With a 3-6db boost this recording is a solid 5 for consistency, clarity, and the great wide frequency response.

You'll need to turn this one up a bit, but it's worth it. Great ambiance on this recording from Atlanta. The crowd is clearly ready for a show, but the first set is a mixed bag, with Stranger and New Speedway Boogie getting the highest marks. The ‘90s arrangement of HC Sunshine sags as usual and Jerry, sounding half-asleep, wanders through the structure of Jack-a-Roe and you have to wonder where the night will lead. Maybe El Paso got him riled up, but Jerry sounds suddenly alert and present on New Speedway—a good sign.

Happily, the first half of the second set is what it's all about. Whoever says the band couldn’t jam in '94 should give a listen to this huge Fire, plus a jazzy, well-received Playin' that bleeds into the final performance of Dark Star. Vince contributes very tasty organ here, toying with at least one of T.C.'s old Dark Star motifs. A simultaneously meditative and raucous Drums/Space, with ghostly choir samples, funky church organ, and airplane drones, leads into a standard but above par closing sequence of some old warhorses. Stella Blue is a lovely version, though not as good as 8/1/94 (Jerry in rare from on his birthday) or 3/21/94 (a stunning rendition sandwiched with Lovelight). Liberty doesn’t seem to win many fans in general, but if there’s a “best” version, this might very well be it. Jerry sings with aplomb.

Minus a star for the low levels and minus a star for some uneven moments. Add a huge star for a solid hour and a half chunk of incredible ensemble work in set two. (I had a tape of this second set way back when but it was disturbingly sped up so it's great to see a crispy version here at the archive. Kudos to the tapers!)