Bob sings the 'Standing on a Tower' line twice
Jerry "I am sure she has been true" a few times.

Sometimes we are on the mountain top
other times we are in the valley below.

The wife wanted to know what was wrong with Bobby when he was screaming during Sunshine Daydream.

2/18/71 seems to garner all the accolades from the '71 Port Chester run, but this performance deserves recognition in its own right. Although the vibe is quite layed back (the band might be hungover), it's a very well played show, and includes some dynamite jamming.

Though there are a few annoying dropouts, both the Betty Cantor and newer sourced sound quality is brilliant and the mix quite lively. The jangly tone of both guitars during this run is gorgeous!

The first set, featuring one of the very last first set Cryptical/Other One suites is particularly good. Most of the renditions are very tight, and although the instrumental breaks are not extended, some of the jams are very creative. It's amazing how quickly Kreutzmann was able to adapt to the departure of Mickey.

Me and My Uncle is terrific, Jerry laying down some really nice jangly leads making for one of the better performances of the song. Though lacking the intensity of the renditions that would come later in the year, Hard to Handle is solid and includes some excellent Weir lead work. Only the second ever performance, Bird Song is very nice. They're still working the arraingement out but listen closely to Jerry's Duanne Allman-like guitar on this one and hear an unmistakable Midnight Rider riff at 3:50.

The first-set Cryptical/Other One suite is a treat, Phil driving a laser focused attack on the Other One intro following a great drum break. Although the rendition is somewhat abreviated, it's fairly compelling; the pre-verse segment is moody with Garcia initiating a lovely Dylanesque passage about ten minutes in. The theme continues after the verse, Phil leading a rather brooding movement starting at about 12:30, prior to the second verse. Wharf Rat, only the third ever performance of the song, features some lovely jangly guitar from Weir.

The second set is not on par with the first, but it's not without some fine music. They don't nail the vocals on Loser, but it's still an interesting rendition, with more lovely guitar work by Weir and some eerie organ fills from Pigpen. Following a rocked-out Johnny B. Goode, the highlight of the second set is of course the gorgeous rendition of Ripple. It's one of only three electric performances of the song and it's a beautiful and emotive performance!

The NFA/GDTRFB suite is well played, nicely rocked. The jamming is not as cohesive as it will become later in the year, but there is a nice jangly mini-jam during the outro of GDTRFB.

I'm not a huge fan of Lovelight, but this one is rather special. Pigpen's rap is up there with his best (he invites someone onstage!), but the real high points are the two amazing instrumental breaks. Skip this one and you'll miss a couple of cool smokey jams! The first starts at about 5:25 and is brief but nicely jazzy. The second is amazing, listen as the guitars lock-in at 11:50.

This show doesn't reach the dizzying heights achieved two nights prior to it, but it's certainly up there with the best of the six-night run! (97 pts)

Great transfer of a great source from a great period.

At the start of GSET there is some chuckling at the start and then... Bobby sings "Moses come ridin up in to buy a car."
Classic shows, classic venue.
Peace, Bob