Excellent set excellent show like 99.9 percent of all dead shows especially at the Coliseum. Silly how folks can be so negative and judging especially those that can't play or write music themselves. "Tell me this town ain't got no heart, just gotta poke around" hope one day you will learn how to interpret poetry as well and be kind. Love this band on another level with Garcia. If you wanna critique go to a jam band show those copycat bands are atrocious compared to the Grateful Dead. Play your own music and write something original.
Be Happy

I sang a little while and then flew on.

Highlights: I Know You Rider, Playing In The Band, All Along The Watchtower

Some of you people are straight tone deaf, Bobby is not out of tune, he is just playing some brilliantly off the wall stuff towards the end of the Playin. Fantastic late era jamming for sure. Underrated year for sure

Like spiral_gypsy@yahoo.com I too only attended 3 Dead shows (24, 25 and 26 January 1993) and know the music much better now. I travelled from Australia and had a brilliant time, and so great to be able to listen to these shows; thanks for downloading - much appreciated. So many highlights.

I was at this show. I had a great time. I wish I could say I remember it in detail. I went to 3 Dead shows before Jerry died. I know their music better now then I did then. It's a trip listening to a show you were at.

I'm a big fan of MNS especially the middle spacey jam was always a favorite live. Like riding a wave to it's crescendo.This is one of the coolest, longest ones I've heard. Bobby's tone and lead quality in the beginning are epic. Like Jerry's just waiting, letting it build. Fabulous version even if they don't pull off the transition

"give me an f, give me a u, give me a c, give me a k - what's that spell...?" Any one from back in the day knows what song that is. Some of you new guys might need a history lesson. You're being too much like a critic when you blast any of the dead members the way some of you blast Bobby and the tone of his guitar that changed midstream in UJB and apparently annoyed some of you. Why? To know the dead is to know why, especially in the early days, when playing feedback and sometimes disjointed music after feedback and disjointed tones almost like Albert Ayler. Cecil Taylor, Sun Ra or any of the old jazz greats of the avant garde era did. Don't fense the dead in. That's what type cast them into repeating song after song mostly in the same vain for a long time and seemingly forgetting where they came from and their roots. AM radio made them a star with Truckin' and sometimes when the future looks uncertain and you're hungry you do stupid things. But the fans have a lot to do with it too with their expectations.

Check out The Fugs or the Godz or any of the late sixties bands who never made it and therefore never sold out to find out how disjointed rock music could get back then from players who played what they wanted to. The Velvet Underground was that way on their first two album before Lou Reed became a "star" and had to follow patterns or be a starving artist. The early Stooges were the same way.

It seems the only time the dead was allowed to "explore" later in their career was during drums and space and the fans wouldn't complain too much if the "music" was a little "out" there because "that" was expected for this portion of the show.

Give me a break. Sometimes back then some of the bands would purposely retune their guitars for different sounds at different times. I remember Jimi Hendrix doing that - grab the fret and turn it this way or that way while running their fingers up and down the chords of the guitar. Back then it was considered cool. With commercialism came expectations of "how" a song was supposed to sound and if it didn't sound like "I" thought it should sound well, fuck, I was going to let the world know because I'm a goddamn critic, for christ's sake, and who gives a fuck what other people think because my opinion is the only goddamn opinion that matters.

Again, give me a break. Let the musicians play "their" songs any goddamn way they feel like playing it and shut the fuck up or don't go listen to them.

No offense to anyone out there but this comes from a guy who remembers the old days and misses them and the freedom the bands felt and played when they were young and only wanted to have a good time before the world as we knew it died and reality hit.

This was about my 26th show, and I like to think that by then I could listen pretty analytically. The archive has now made it possible to do so even better. I had a good time at this entire run of Chinese New Year shows, as I had good people with me, a good place to stay in SF, I wasn't broke, and the shows were solid; none of them sucked. This particular show, however, came closest to sucking of the three.

I primarily went to shows to listen to the music and watch the band play. Partying, romance & drugs were secondary when they were a priority at all (though I admit the drugs were usually a lot of fun for me), & I never had any patience with Deadheads who argued about the music based on their loyalty to "Jerry" (whose bandmates and friends generally called him "Garcia" and viewed his character with an ambivalent shrug). Music is music and hype is hype, and after about ten shows I always found it easy to separate the two. One of the things you have to accept about the Dead is that about a third of the shows are worth really intense listening, a quarter of the rest are at least danceable, and the rest...well, just hang out and prowl the crowd and focus on something other than the price of the ticket. I love the Dead. Love does not mean unconditional worship and singing ridiculously overblown praises.

Bobby's out-of-tune guitar in Playin'/Uncle John's is so horrible and truly careless (it goes on without a correction for way too long, as if Bobby is actually trying to piss off the audience) that it almost puts the whole show in the two-star slot. Comparing this to Miles Davis is like comparing radioactive feces to 72% organic fair trade chocolate: the two are not equivalent. Apart from that, the show is solid with some really cool moments. Drums/Space has some really cool silence in it, as does the jam out of Uncle John's once the guitar stupidity is finally noticed & dealt with. Watchtower is KILLER, though not as good as the one in Vegas the previous spring; I love the addition of Welnick's heartrending piano technique to this song, and was never much of a fan of it in the Mydland years. It got played too often, too hurriedly. This brings me to talk about Welnick & Weir's new (then) songs, & how so many heads find it mandatory to dis them.

Way to Go Home & Corrina are good songs, musically. Anybody who says that Way to Go Home is a buzzkill is simply refusing to listen on religious/political grounds (Jerry is God/I must not dig Bobby), which is contemptible. Anybody who doesn't dance their ass off to Corrina is choosing not to have fun, which is sad. In my teens, I was guilty of such foolishness. After about 1990, I put away childish things. I had a good time all the way through this show. Overall, not great, not terrible, but plenty of great and terrible moments. Kinda like life, actually, which is about as mystical as I ever want to get about the Grateful Dead.

hey "deadheads" you guys should know by now that wier is in the grateful dead and you guys aren't---the opinions herein are very sad---i just listened to the corrina>playin>ujb and i think it is great- the comments about whammy bars and effects make you guys sound really old and boring, unlike the GRATeful dead---phil and jerry sound very nice here also-----miles would have loved what weir is doing here because it is different.

Weir's Guitar tone was great though about 80-82. But than something happened, bseides that stupid whammy bar. His tone became more cautic and abrasive and never came back. So I totally agree with the post a few down that comments on hios awful tone. I have played jazz guitar professionally vfor 30 years and know something about tone. Weir had one of the best guitar tones ever from '70-->'80, but after that it really did get bad.

i cant get these concerts to come thru and play they play for 1 sec then stop then play then stop its drivin me nuts is it the dial up i have a nice HP laptop it has Vista im at a loss here any advice on what the problem is

eh..
And Bob's guitar is pretty much horribly out of tune for the second set. ( I didn't listen to the first.) Some interesting bits after Corina. Playin reprise has some horrible guitar tone from Bob. Too effected, loud and out of tune. Stopped listening at Uncle John's so take it for what it's worth.

The correct source is SBD>Dat>Cass Master>Dat>CD

this was a solid first set. great bakedown for the 1st set opener solid. good second set opener then a downer for two new songs (at the time)lwtgh and velveeta CHEESE IT UP BOBBY! back to back which sorta killed the energy but a good playing rep and ujb into drums and space lifted it up a little however, the wharf rat>box of rain sent us home a little warmer on a cold bay area night.

OVERLOOKED! GREATFUL DEAD VERY A LIVE- AND LOVELY AUDIENCE! JAZZY DEAD.I am danish saw GD first time in Tivoli Copenhagen 72,has been a fan ever since.Thanks for all the great music.

After relistening to this show, I'm pleasantly surprised at some of the beautiful moments I'd forgotten about. The Shakedown opener and the Maggies Farm are the highlights of the first set, but what you really want to hear is the middle of the second set. From the post Corrina jam through Drums, the band is definitely in exploratory mode. The Playing reprise seems to burst from nowhere, and the UJB is respectable. The rest of the show is solid, if unspectacular aside from an unusually extended Around and Around that gets extra jazzy treatment.

A good example of how the relaxed crowd atmosphere and band attitude at Bay Area shows could produce some nice results.