Mt. Garcia
Every tune feels crisply played here. During Minglewood, you can appreciate how lucky Jerry was to have such a fine rhythm section to work with, and what a flat out rock band the Dead were. In Cassidy, it's hard to imagine Garcia getting into much more of a lather before they head back to "flight of the seabird." Even Sunrise, probably features Donna at her vocal best. In Passenger, Garcia becomes one hot slide player. At the top of the second break, where he would usually move back to his pick, he gives us four more runs of some fairly smoking slide playing. In the Mexicali couplet, you can hear lots of unusual fills and filigree.
The real fun begins with Let It Grow. Lesh is featured prominently. And if you love the usual warble that Garcia lets fly on this tune, you are in for a real treat. I count five of them, plus a quick latin statement at 9:38ish. At
11:47 he unleashes a grand master warble. Promised Land is taken at just the right tempo. On the first break, Garcia's very first statement is a thought out phrase. You know he is completely on his game. The second break goes to Keith, but Garcia is so excited to get going again, he jumps right in and starts another one. After two lines, they beeline back to the verse. After this one, it's all Jerry: two great warbles, two huge classic Chuck Berry bends, and a slew of phrases.
And that's just the first set. Garcia is just getting warmed up, I kid you not. Just one highlight: after the "Dug for him a shallow grave" line in Jack Straw, he uncorks a totally rare, rocking fill.
I won't even go into Not Fade Away. It's worthy of its own chapter. Words are a poor substitute for music.
(BTW most of the Tuning files logged here are duplicates; they all seem to be identical to the one Tuning they do before they launch into Cassidy. This is a shame, because on one of the true Tunings, Weir explains to the audience about Garcia's laryngytis --- on the tape I've had since 1979, I believe the explanation occurs right before they do Jack Straw)