The reprise heats up just after the drum break and there is an exhilarating passage during Pig's rap starting at about 6:45 but unfortunately they don't stick with it. Good Lovin' is a solid performance, but it's evident that this shows is lacking in jamming. A nice raunchy jam during King Bee preceeds a scrappy performance of Truckin' which catches fire briefly during the outro, Garcia ripping a fine lead.
This one is stretched out a bit, though I'm not sure if it's any better than the gorgeous performance from the night before. It's not particularly tight, but Jerry's leads are punchy and it's an interesting performance. Garcia finally steps up on Cumberland Blues. Ditto for Bird Song, all jangly with Weir guitar. The China/Rider segue is nice, again thanks to some solid Weir guitar work. It's still lovely, pity they didn't stick with it. A couple tracks are not well played though, and Ripple is not nearly as fine as the performance from the night before, the band seems to be having trouble staying in tune. Loser is terrific, thanks in no small part to Weir's rhythm guitar. The band is still working out the new material, but several of the renditions sound quite good. Still, it's a dynamite performance and the energy level is a bit higher than the night before. He's really in the groove and it shows.Īgain, the the guitar tones are gorgeous, though the playing is not quite as tight as the preceeding shows, and the set lists are not as exciting. E A Nothing ain’t worth nothing but it's free, but it's free. Weir is right up front in the mix on this one, and it showcases just how well he was playing on this run. Chorus D A Freedoms just another word, for nothing left to lose. This transfer has more punch than either of the Orf remasters, but it falls just a touch short of the very lively recordings of the previous night, and it's difficult to hear Jerry during the first half of the show. Type sound VenueĪnother very fine performance, though this one is not jammed as well as the previous three nights. Thanks to trailmix for providing the lineaged master DAT for transfer. Original WBOTB DATs procured & circulated in 1996 by Jace Crouch and Tim Deibert. Locationħ" two track BBD reel w/ Dolby A 7 1/2 ips > PCM501ES (beta) > PCM501ES analog out > Dolby A decoder > Apogee filter > analog in PCMF1/PCM501ES analog out > Fostex D5 48 kHz > WBOTB Master DAT (DAT-1). All components in the transfer/mastering chain were powered from a Cyberpower 1285AVR noise-attenuated uninterruptible AC power supply. All cables were Mogami Gold 0.3m pro-audio XLR cables. Recording, editing and mastering with Wavelab 5.0. Access-restricted-item true Addeddate 13:09:50 Identifier gd.flac16 Lineage Jace's DAT (48 KHz) playback on Sony PCM-R500, AES digital output > Benchmark DAC1, XLR analog output > Grace Lunatec V3, sample rate at 96 KHz, AES digiout) > AES digital input, professional mode/sync - LynxTwo soundcard in E6400 dual core processor-based PC > HD as 24 bit/96 KHz WAV > Ozone 3.0 > MBIT+ dithering to 16/44.1 KHz WAV > CDWAV 1.9 (tracking) > FLAC (level 8).
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