The tickets were almost impossible to get on the lot as one could tell. Everyone knows about the Terrapin, and it is one of the best, but here it is just one portion of an all together epic concert. But, for good measure, yes, this show is sprints up to the edge of the cliff and jumps off, sans parachute, without a 2nd thought. With all the reviews already up on this AUD I don't really need to. So while this is a very strong source, I would strongly recommend going with the Hubbard AUD if you are not looking for the big AUD style of the LaPorte. It separates from this Nak300 source in that it is a bit more crisp and the instrument tones haven't lost as much of their biting edge as they have in this source. The Hubbard AUD for this show is also on the opposite side of the tracks from the LaPorte source. It lacks the power of the LaPorte source, though if you are after a more clean, even ended AUD, LaPorte is not for you. The crowd noise only pops up in select places, and the instrument/vocal levels are very good. In contrast with the LaPorte AUD available for this show, this(Nak300) is a more clean source. This version of the song is enormous, and the AUD recording is so good there is tons of headroom for that 7:30 assault of hard, deep lows. Having been at DAR Constitution Hall on 08/17/95 with the Deadhead brother that got ME into the Dead in the 80s, those lines are sorta poignant to me. GRATEFUL DEAD HAT FULLThere I am howling out loud with Bobby, "We are on our own." Not even a full moon tonight. Then I get teary again for Brent's most beautiful "I Will Take You Home," and then good gods have mercy, I'm utterly shocked to find myself honestly emotionally involved with August West for the very first time in my life, and well and truly so full of August's romantic righteousness, that the move into "Throwing Stones" seems perfectly right, and it all comes kicking out. Glad this recording caught the Drums, as our Rhythm Devils were clearly ready to bring the curtain down on a composition that started 22 minutes ago. I bet everyone was having an, "Is this going to end up a new road-built song?" moment. Crowd is in pure bliss as some of the tightest jamming is months is happening right there for them. Drummerz having a BLAST, listening to each other, and driving the vibe, Phil just going to town, Brent sprouts two more hands in the middle there, while Bobby and Jerry just feed off each other. There were a few teenage black kids behind us and right before on of them literally fell over off his seat one of the kids said, "Man, even the music gets you high." Great set list.Gosh, that jam just makes me smile out loud every time I hear it starting up on my big ol' Grateful Dead digital jukebox. We retreated to the bleachers which were fiberglass and made your butt itch. When Aiko started me and my buddy Dave Hand tried to move up through the dancers but it was too hard nAvigating through a sea of people. I remember rolling a joint on my leg and it was so humid the weed stick to my fingers and pants (i was very high). I didn't know about Bob and Jerry alternating openers and which songs were reliable first set songs, etc. When I got down on the floor it was crazy hot and I remember a guy chatting me up and asking what I thought the first song would be. Some girl was blowing dudes in the stall. I remember a puddle an inch deep of whoknowswhat in the dilapidated old bathrooms. The next day I met up with my friends and ran into a lot of kids from school, everyone was dropping acid and getting high. What an adventure: so many freaks, so much drugs. I was 17 that summer and had run away from home, so since I was on my own I went to JFK the night before. Great show! It was so hot that day, over 100 degrees on the field.
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