The Grateful Dead

Date: May 4th, 1979 
Venue: Hampton Coliseum 
Location: Hampton, VA 

This show started with a very solid ½ Step. The vocals had a heavy amount of Brent, but his sound was well taken. The song was solidly delivered and the bad sounded tight. Jerry’s first two ½ Step solos were standard, but the first Rio Grandeo solo soared with improvisational flavor. It by no means was blistering, but rather, was quite deep with improvisation. The finale Rio Grandeo solo got even deeper and sent the band to a very remote location. Jerry’s improvisation was nearly hypnotic. Jerry was on. On the flip of a dime, Jerry launched the band into Franklin’s Tower. Of note, the harmonies during the Rio Grandeo were quite poor, but the guitar solos, and in particular the second Grandeo solo, launched this version into very above average status.

Franklin’s Tower continued where the Rio Grandeo finished. This version had six guitar solos. The first three solos were relatively similar but were extended and filled with meandering flavor. The fourth solo gained pace and momentum and built to a nice crescendo. The fifth was a bit spacey and built to a very nice series of flavored cyclings. The sixth gained a lot of steam and peaked with a very nice fanning only to drop in pace to a near standstill before being resurrected by Jerry into one final peak. As such, this Franklin’s Tower was twelve minutes in length. While not quite exceptional, this version was very above average and had a lot of improvisational dimensions.

Mama Tried was flawless and had a very nice Jerry solo. But, the song portion didn’t seem to have an exceptional edge as the transitions were a bit muddy at times.

Mexicali was similar to Mama Tried. Well done, but a bit flat. The Jerry solo was very flavored, but ended awkwardly.

Jerry next chose Candyman. This version was solid and flawless. Jerry’s solo ripped, though, and was quite mean.

Next was Lazy Lightning Supplication. This was an extremely well done version. The transition segment had a very interesting Jerry drive solo that gained a lot of tension and momentum and peaked superbly. This was the highlight of the first set up to this point. The interplay of Lesh and Garcia during the peak into Supplication was very well done. Weir’s exclamations during Supplication are priceless. Of note, Brent’s keys sounded very well placed. Keith always seemed a bit out of place on this tune.

Next was Loser. This version was pretty well done. The song portion dragged a bit as Jerry’s voice seemed very sedate. His solo was somewhat piercing, but not like the 1.20.1979 version.

Continuing with the screamy Weir tune and soothing Jerry tune contrast, next was Minglewood. The song portion was very edgy and filled with Weir cocaine screams. Jerry’s solo was twisted and deranged and loaded with flavor. But, the main jam only had a Mydland and Weir solo. This likely was intended as during many Weir blues tunes throughout the 80s, Weir took the final solo. The versions suffered as a result.

Next was Don’t Ease Me In. This version was surprisingly tight. Weir provide a slide rhythm and Jerry’s solos were very nicely done.

Passenger ended this well done first set. This was delivered with a lot of strength but Jerry’s first solo doesn’t quite match the intensity and falters, and the second solo while quickly paced didn’t reach interesting peaks. The transition from the main jam back to reprise was flubbed as well.

The second set started with the year’s second I Need Bertha Lovin. The Miracle was pretty solid. Jerry’s solo gained some steam but was not overly interesting.

Bertha was delivered with nice pacing but the guitar solos were pretty standard.

Good Lovin’ was intensely delivered from Weir but, again, the guitar solos were not dramatically compelling.

Overall, the Miracle Bertha Good Lovin’ trio was not too interesting as none of the song’s truly allowed Jerry to meander and create flavored themes. Basically, the songs only permitted standard and structured jamming. It shall be interesting to see if the band kept this trio in their repertoire.

Ship Of Fools followed, and it was very tame. Jerry sounded a bit tired and flat.

Estimated Prophet followed, and the opportunity to resurrect the set was granted. The song portion was solid. Jerry’s in song solo gained a lot of momentum and reached a nice intensity, but there was no feeling of tension or flavor. The outgoing jam was much more interesting. Jerry’s meandering is quite flavored, and the apex of the Estimated jam has a very intense and tension filled moment that cascades into Eyes Of The World. This easily was the highlight of this show up to this point.

Eyes Of The World started out with a breathtaking extended Jerry solo that included about 4 straight minutes of non-stop flavored and tension filled improvisation. The song portion was tight and flawless and sounded fantastic with Brent’s harmonies. The first Jerry solo was very entertaining as Jerry created a very fast paced theme that reached a flavored peak, swelled beneath itself, and resurfaced for a second peak. The second solo gained momentum but stalled with no extended peaks. Jerry slowed the pace down to a creep, and unsuccessfully tried again to reach a flavored Eyes peak. The outward jam was impressive as Jerry again created an extended solo with flavored picking that reached high levels of tension. Despite the second jam stalling, Jerry’s picking pace during this version of Eyes was astounding.

Out of the Drums segment, the drummers began a NFA rhythm, but Brent began a bizarre space segment. Jerry pounced on this opportunity and began very effected solo that was very flavored and interesting. The overall feel was oppressive and intimidating and nearly frightening. Jerry started chaotic themes with Weir provided feedback rhythm and Brent attacking with eerie space sounds. Unfortunately, this space lasted only about 3.5 minutes. Still, this bit of space was very well done.

Truckin’ was a bit unexpected but welcome. Brent’s first Truckin. The song portion was tight and well delivered. The jam started with a very well done Truckin’ march leading to the structured punch jam, but it quickly evaporated into a Stella Blue / Black Peter - ish transition. As such, the jam was short and left a lot to be desired.

Stella Blue was very typical and had little flavor. It was flawless but the Jerry solos were standard. The outward jam was mostly a R&R teaser transition.

Around And Around rounded this set out. This version was well delivered and paced. Jerry’s solos were rockin’ and brent’s solo was well done. The final Jerry solo gained some steam but was not over the top. Weir had some nice yelps as well. A very fine version that was just above average.

There was no encore.

Another relatively average to above average show with some solid moments, some very average moments, and fewer exceptional moments. Of note, the Lazy Supp, Don’t Ease, the tail end of the Estimated Jam, the initial two Eyes jams, and the Space were the show highlights.

Set 1: 7.67
Set 2.1: 7.38
Set 2.2: 7.58
Set 2: 7.48
Show: 7.57

½ Step 7.9
Franklin’s Tower 7.8
Mama Tried 7.6
Mexicali 7.5
Candyman 7.75
Lazy Light 7.9
Supplication 8.15
Loser 7.25
Minglewood 7.3
Don’t Ease 8
Passenger 7.2

Miracle 7.2
Bertha 7.35
Good Lovin’ 7.25
Ship of Fools 7
Estimated Prophet 7.75
Eyes Of The World 7.75
Space 8.5
Truckin’ 7.2
Stella Blue 7.15
Around And Around 7.5

*wherein:
5 to 6 is among the worst versions ever
6 to 7 is below average
7 to 7.499 is average
7.5 to 7.99 is above average
8 to 8.99 is exceptional
9 and above is among the best versions ever 
Rob Goetz ©