1979-04-17 [Tue]

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Rancho Nicasio, Nicasio, CA

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Jerry Garcia - electric guitar, vocals
John Kahn - electric bass
Merl Saunders - keyboards, synthesizers, vocals
Ron Stallings - saxophone, vocals
Gaylord Birch - drums, vocals
Ed Neumeister - trombone
Set 1:
What You Won't Do For Love , Linda Chicana , Someday Baby , Soul Roach , Don't It Make It Better , Another Star [1]

Set 2:
Lovely Night For Dancing , Mohican And The Great Spirit , I Just Wanna Stop , Sama Layuca , Struggling Man , Long Train Running [1]

[1] Instrumental version
Average Song Gap
2.67
Set 1
 Gap Analysis
Name Notes Lead Vocals Last Next
What You Won't Do For Love Ron Stallings 2 2
Linda Chicana Instrumental 4 10
Someday Baby Jerry Garcia 2 1
Soul Roach Instrumental 2 5
Don't It Make It Better Merl Saunders 2 2
Another Star (instrumental version)
  • Instrumental version
    		•  Instrumental 2 1
    Set 2
    		 Gap Analysis
    Name Notes Lead Vocals Last Next
    Lovely Night For Dancing Merl Saunders 2 1
    Mohican And The Great Spirit Instrumental 2 2
    I Just Wanna Stop Ron Stallings 4 1
    Sama Layuca Instrumental 8 4
    Struggling Man Jerry Garcia 1 1
    Long Train Running (instrumental version)
  • Instrumental version
    		•  Instrumental 1 4
    Audio
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    Notes
  • Nick: "4/17/79: 'we in church today!'" "The main reason to sing its praises is another (heretofore unknown to me) version of the mighty Sama Layuca, mislabeled in both filesets as Welcome to the Basement. It’s not quite as wild as the nutso 3/30/79 performance (ahem), mainly because only Ed Neumeister and Garcia take solos (Ron Stallings, Merl, and John Kahn all get moments in the 3/30 version). But holy moley, they throw down hard here. Garcia’s chomping at the bit, but Neumeister goes first. The band grooves hard underneath him, slowly loosens their grip, lets it get wild and hairy, then locks it back down, then loosens up again, and so on. I don’t know if Stallings was having a problem with his horn, but there’s a bit of float-time after Neumeister’s solo until Garcia steps up to bat and just nails it. After the same wild back-and-forth, it spills into some loud noisy space — listen close to how seamlessly Gaylord Birch snaps back into the groove of the song as the return for the ending. He’s such a fantastic drummer: over a very fast tempo (like 175 bpm), he easily shifts from tight control to unhinged freer playing with nary a stumble. Impressive! " Possible second saxophonist!
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