When it comes to Fall '70, close neighbors of this one like the Stony Brook Halloween run and 11/8/70 at The Cap seem to get all the love. But in the thick of it all, 10/24/70 really holds its own as one of the very best shows of the year and one of the most underrated gigs of the band's early history. I've been listening for 9 years and just gave this show a listen for the first time yesterday - tucked away hidden treasures like this one are a big part of what makes being a deadhead so damn fun. In this 1969-1971 window, good setlists are occasionally tinged by pitchy singing, instrumental tuning issues, Pig or Bobby going a little overboard, and/or poor mixes/recordings. Not with this one! While there's a brief cut or two, overall this soundboard is an absolute knockout and the performance is the picture of smooth uniformity and electrifying energetic cohesion.
The show begins with the best versions I've ever heard of Dancing in the Streets and Hurts Me Too. I've always preferred their original arrangement of Dancin', and this one in particular is really special. After a few minutes, they pause the singing and wind up for some real instrumental artistry. At around the
6:00 mark, Phil starts thumping them into a roll, at 7:00, Weir and the drummers construct an aerial railroad to serve up to Captain Trips on a silver platter, and at 7:15, he obliges and gets the whole thing gliding into one of the most elegant, melodic jam segments you'll ever hear, and the song well and truly is "Dancing". From what I've read, hints of these particular lines and chords were apparently featured in other shows in 1970 and would eventually evolve into the Beautiful Jam of 2/18/71. As smoothly as this Dancing jam started, it wraps up as Bobby masterfully puts a hook in it and reels it into the last verse. What a way to start a show! Hurts Me Too is also amazing. This is Pigpen at his best. The band slugs along like a mean hangover, and Pig just sinks his teeth and harmonica into the thing and absolutely crushes it. He's equally in the zone for Good Lovin', (which features a scorching, extended Alligator-like jam) and the fiery Lovelight closer. His organ work in this show is also really impressive; we probably never give McKernan the props that he deserves for his chops on the keys.
The recording is wonderfully balanced and mixed, so many thanks to Tim Dalton, Charlie Miller, and Joe Noel. Safe to say this is the best source of 10/24/70. Every player is in great form here, but I think Phil Lesh just noses ahead of the drummers and guitarists for instrumental MVP of the night. There are points in the jam vehicles like Dancing and Good Lovin' where he fully takes the reigns, and even when he takes a step back to take a more rhythmic and supportive role in songs like Hurts Me Too, Me and My Uncle, the American Beauty numbers, and St. Stephen, his assertive creativity and forceful volume are a real driving force that brings the lyrical stories to life and push the band into another gear.
What an amazing display by the Good Ol' Grateful Dead, one that is sure to have even the most grizzled longtime listeners raising an eyebrow and wishing for more!