![]() Like with so many other Bobby tunes, he then turned the music over to John Barlow so that he could pen the vocals. Bobby wrote the music, thinking of his good friend Neal Cassady while he did. And, as I alluded to above, it is a powerful meditation on death and birth, limits and possibilities. The magic continues out of Space and into an other-worldly Other One, finally coming down to land in an alternative universe called Stella Blue.Ĭassidy is a special song for many Deadheads. Words cannot express how phenomenal the jamming is as the band scorches off across the land with the tocsin peal of the bell. Then the highlight of the show emerges, the Franklin’s Tower. In the second set, the Estimated is so forceful, with Bobby, Brent, and Phil coming together to lay an intricate, finely woven tapestry that Jerry just shreds on top of. The set ends with a Deal that smokes from the beginning, but manages to start throwing sparks off the side as the jam picks up steam. Later in that first set, Let It Grow charts some spectacular territory, continuing to branch out and explore every time you think the Dead are bringing it to a close. ![]() But here, like with Peggy-O, the playing rises far above the ordinary and forces you to feel the full pathos of the tune, of death and rebirth, of an amazing life cut short and another just beginning. ![]() Cassidy, coming on the heels of Peggy-O, is always fabulous itself, more for the lyrics and the serendipitous origins of the tune than anything else. The night opens with a very strong Jack Straw, but it is the Peggy-O that will really grab you. Such a pretty song to begin with, Jerry’s vocals are perfect and his guitar is magisterial, evoking the full emotion of the tune. In this show, the boys enthrall you with the effervescent loveliness of their playing. ![]()
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