Agree with the reviewer that Bobby is running the show (and not in a bad way) here. This may actually be Bob at the peak of his "powers" LOMIT

Powerhouse performances such as those captured on the 34th instalment in the Grateful Dead's Dick's Picks series are evidence of their 1977 renaissance. The centerpiece of this three-disc edition is the November 5 gig at the Community War Memorial Auditorium in Rochester, New York with practically an hour of filler from Toronto, Canada at Seneca College's Field House (November 2). While the entire band's energy level is uniformly high, it is Phil Lesh (bass) who consistently provides more than just his customary rock-solid rhythmic anchoring. For a combo known for mixing up their lists from night to night, remarkably half-a-dozen songs that had been done the previous evening are repeated here and four others would turn up the next night. However, repetition is a good thing when the calibre of playing is as inspired as it was in the final week of their late fall of '77 tour. Not a second is wasted as they burst from the gate with a boisterous rendition of "New Minglewood Blues," an update of "New, New Minglewood Blues" from the Grateful Dead's self-titled debut album. Equally robust is the no-holds-barred exertion given to "Mississippi Half-Step Uptown Toodeloo." Jerry Garcia (guitar/vocal) makes up for the occasional lyrical flub with spirited fretwork, setting the tenor for the remainder of the show. Especially with the insightful lines he corrals in "Jack Straw," which muscles into one of the hottest "Deal"'s to have gone down during this era. Lesh is atypically assertive as he noodles around while the rest of the musicians gear up for the beginning of the second set, which commences with the first of several full-blown solos from the bassist. Bob Weir (guitar/vocals) interrupts with a plea for the audience to "Take a Step Back" to prevent attendees at the foot of the stage from getting continually crushed by their fellow concert-goers. This was obviously a problem as Garcia had previously addressed the situation. Once things settled down, they embark upon a sublime and nearly quarter-hour long "Eyes of the World," soaring with a strength that hearkens back to the improvisation-heavy renderings that were common some four years prior to the Grateful Dead's 19-month-long touring sabbatical. Lesh once again steps up, rounding out the tune with a melodic jam that lands into a heady overhaul of "Samson & Delilah." After above-average readings of the emotive ballad "It Must Have Been the Roses," and the deliciously noir pairing of "Estimated Prophet" with "He's Gone," Lesh stays front and center, adding his proverbial two-cents in the abbreviated "Rhythm Devils" section before steering the good ship Grateful Dead into a scintillating "Other One," whose direct ancestry can be traced to seminal late-'60s outings. Keen-eared participants will definitely note the shift in audio quality from "Black Peter" on, as missing open-reel tapes were substituted with a slight, yet discernibly inferior quality master recording -- with an emphasis on the word slight as the contents are both completely listenable and no less enjoyable. The bonus material was a good call, specifically the version of "Estimated Prophet" that features Garcia extracting eerily bellowing laments and wailing sonic exorcisms. Although not as far out, Weir's "Lazy Lightning" and "Supplication" are similarly aggressive as Garcia's leads are nothing short of blistering. There is a reason that 1977 is so thoroughly covered in the Dick's Picks series -- mainly because of expeditions such as these.

Totally!! Jerry is strangely absent throughout.

Jam out of Estimated into He's Gone is the highlight of this latter 2/3 of the show. Admittedly the rest is not that golden. But very nice to get a re-energized EP. After Disc 1 I thought this might be a top five Pick, but I don't agree with earlier self.

That other thread is entirely unnecessary.

Yeah, I was a little disappointed too, considering the top billing that it received in the review. The first set and a good portion of this though were some hot stuff...I'm chalking this one up as a success.

Good sound on this one so far, whole band sounds really into it. I love these upbeat versions of Dire Wolf btw.

Finally we get a "Candyman"!!

For a bass-heavy show this recording is awfully tinny. I've had as many coffees as I had hours of sleep last night. This is tough to get into.

Finally we get a "Candyman"!!

For a bass-heavy show this recording is awfully tinny. I've had as many coffees as I had hours of sleep last night. This is tough to get into.

unforeseen circumstances.

You went out to get smokes, somebody looked at you, and now you have a body on your hands?

1972 was a pivotal year in the Grateful Dead's evolution. The band, crew, and families spent the better part of the spring across the pond, touring throughout Europe. Failing health was rapidly catching up with co-founder Ron "Pigpen" McKernan (vocals/organ/harmonica), who -- still considered an active member -- had not played with the Grateful Dead since mid-June. His replacement(s) came in the form of the husband-and-wife team of Keith Godchaux (keyboards) and Donna Jean Godchaux (vocals). The pair's contributions, especially those of Keith, were immediately felt in the jazz-fused direction the Dead's music was adopting. The four-disc Dick's Picks, Vol. 36 (2005) includes the complete three-plus-hour performance on September 21, 1972, at the Spectrum in Philadelphia, PA. While the show is heavy on longer jams, those excursions are complemented with compact selections, such as the rousing cover of Chuck Berry's "Promise Land" that kicks off the set. Due to a broken string from Jerry Garcia (guitar/vocals), Keith Godchaux steps up with beautiful piano leads during a nearly quarter-hour "Bird Song," that joins a particularly ferocious "China Cat Sunflower"/"I Know You Rider" and "Loser" as bright moments from disc one. Among other first set highlights -- which sprawl onto disc two -- are a full-throttle "Cumberland Blues," and an exceptionally trippy "Playing in the Band," with Keith Godchaux, Garcia, and Phil Lesh (bass) impelling the truly psychedelic spontaneous inventions during the sinuous instrumental improvisations. The Grateful Dead ease into the second set with a languid and probing "He's Gone" that foretells the "Truckin'"/"He's Gone" medley as well as the epic "Dark Star." Clocking in at over 30 minutes, the musicians take full advantage and have ample opportunities to navigate without trepidation into uncharted territory. Again it is Keith Godchaux and Garcia who initiate the collective exploration. Additionally, there are readings of "Morning Dew" -- which emerges from the ashes of "Dark Star" -- "Mississippi Half-Step Uptown Toodeloo," as well as a sublime "Goin' Down the Road Feeling Bad" that is concealed within a brawny "Not Fade Away" sandwich. By some accounts the triple-tune filler -- from September 3, 1972, at Folsom Field in Boulder, CO -- equals the main program. "He's Gone" provides a perfect platform for the vicious "Other One," and emotive "Wharf Rat" that follows. Parties interested in experiencing the Grateful Dead at one of their undeniable peaks -- both in terms of repertoire and prowess -- will not be disappointed and may well find themselves regularly revisiting Dick's Picks, Vol. 36.

Appropriate choice considering the closing of the Spectrum this weekend.

'Bird Song' is fucking great, one we don't hear too often, but I don't want to hear 'El Paso' anymore. There I've said it.

Hot version of Ramble on Rose here, as well. I am enjoying the fuck outta today's set, even if they did start out a bit sluggish!

Black Throated Wind and Jack Straw>Loser was a bit sluggish but ChinaCat>I Know You Rider and Big River was jumping.

Shit, is it possible to get a re-up of yesterday's disc 3. I'm again not able to unarchive. Sorry, thanks.