The Grateful Dead

Date: May 5th, 1979 
Venue: Baltimore Civic Center 
Location: Baltimore, MD 
4th Show of 1979 Spring Tour

Jack Straw started this show off tightly. Jerry's solos are laid back but gain steam. The second solo reaches a good deal of intensity and flavor, but the transition back into the song is quite flubbed. 7.2

Sugaree rolled in next. Jerry's first solo was extended and flavored. It reached the brink of intensity but broke back into the second verse. The second solo is similar in that Jerry slowly built the jam to a monstrous size only to cut back to the song just as it was about to erupt. The third solo did erupt as Jerry presented a twisted fanning session that gained a lot of momentum and intensity. The overall feel was a tad unconvincing, however, in comparison to other legendary Sugaree El Pasos (e.g., 5.19.1977 and 9.2.1980).

El Paso, indeed, did follow. This version was quite tame as Jerry's rhythm sounded a bit flat. There wasn't much of a punch or passion in this version.

Friend Of The Devil was next. This was a solid version, but Jerry's solos, while slightly flavored, were a bit standard. The transition from the main jam to the song was flubbed as well.

Next Weir provided All Over Now. This was a very tame version with little punch. Jerry's solos meandered but had little edge. Additionally, the rhythm didn't have much slam.

Tennessee Jed was next. The song portion sounded great with Mydland's harmonies, but the main jam from Jerry meandered and twisted, but couldn't locate flavored tension. Additionally, the zenith of the jam didn't quite amount to a peak.

Next the band entered a jam based tune with Dancin' In The Streets. The song portion was a bit flimsy as the band sounded a bit unconvincing. But, Jerry's solo was very well done. He created about 6 different jam themes each laden with flavored cyclings and tension. The finale jam didn't quite amount to a mountain and the transition back to the vocals was a bit awkward. It didn't quite have the overall exceptional feel of, for example, the Dancin from 10.27.1979 (or for that matter 2.26.1977), but it nonetheless was nearly exceptional.

The first set had the band struggling to join in unison to create flavor within the songs they had played literally thousands of times. 

The second set started with a Scarlet Fire. Scarlet was tame. Jerry's in song solo meandered but gained no intensity as it flowed back into the song. The transition was more interesting. Jerry created unique patterns that led to mini peaks and overall tension increases. The rhythm from the band was also interesting as Lesh provided a lot of nice bombs, and Weir's guitar work sounded dizzy at times. After several interesting and flavored meanderings from Jerry, the push into Fire was a bit disappointing as a surge never really developed.

Fire On The Mountain was quite laid back, and provided more interesting Jerry soloing. The first jam had flavored meandering from Jerry that nicely increased the overall pacing of the song. The second solo was a bit more deep as Jerry opted out of a driving jam and dove into a deeper and more probing jam. This was a well done jam as it created a very nice theme, but unfortunately it didn't quite resolve itself prior to the next verse. Jerry clearly was trying, however. The third jam started with the structured note cycling that cascaded into a nearly ferocious jam. Jerry created a nasty high note pattern that was short in duration and didn't resurge and resurge. Instead, the tune ended. Not a bad Fire in light of the second jam where Jerry was truly improvising within themes. But, the overall result was average.

Sampson & Delilah followed. The song portion was tight and well done. Jerry's first solo was extended and fast paced. But, the theme he was spinning peaked very quickly and awkwardly. The second solo was more driving. Jerry created a nice jam that hit the correct spots but overall lacked a lot of flavor. The ending of the song was majorly flubbed.

He's Gone followed. This was a solid version. Jerry's solo during the song was pretty standard but had some flavor. The outward jam has a short He's Gone theme before Jerry probed into a spacey theme.

The Post He's Gone Space jam was quite delicate at first before Jerry spun a Truckin' // Other One theme. The band was mostly quiet during this meandering as they likely were waiting to see where Jerry landed. Eventually, the jam reached its conclusion, but the band seemed reluctant to officially enter The Other One. Perhaps they wanted the drums segment first. Indeed, instead of entering The Other One, the band opted for a first drums segment. This space was somewhat interesting but not exceptional. Again, as with the second Fire jam, it was interesting to see Jerry probing layers of improvisation rarely seen in 1977 or 1978. 

The Space segment had some very flavored progressions from Jerry with an Other One draft.

The first Other One theme is a prance on the theme that almost sounds happy. Jerry layered this theme with a spacey flavor that was quiet impressive in how it created tension without a pace increase. The second theme is heavily Other One theme weighted but Jerry still teased the theme. The band became anxiously and began the traditional Other One rhythm, but Jerry was hesitant and dove into a deep space. After a few minutes of cat and mouse Jerry finally resurfaced into the Other One theme. Lesh pounced on this jam with a bass thunder roll. Jerry created a surging jam that gained a lot of steam and momentum before settling into the first verse. This pre-first verse Other One jam was easily the highlight of the show up until this point. The post verse one jam began with Jerry searching for a theme. Eventually he located a spacey theme that meandered for an extended amount of time but didn't have a lot of flavor.

After the Other One, the band wandered into Wharf Rat. This was a pretty sedate version. Jerry's first solo had a flavored start but typical ending. The outward jam similarly started with flavor but transitioned into typical meandering. This Wharf Rat lacked an aggressive edge.

Sugar Magnolia was next. The band was beginning to sound tired. The rhythm through the song portion was sluggish. The pacing during the SSDD instrumental barely increased, and Jerry's progressions had little to no flavor. The vocal SSDD was bland as well.


The encore One More Saturday Night wrapped up the show. This was mainly a flat version, but Weir did a nice job with the final vocal screams.

Overall a pretty bland show with some good moments. Jerry, in addition, to Brent was reinventing himself. Ultimately, the band had to do more than introduce a new keys and harmony member. Jerry seemed, again, to be trying to improvise at a deeper level, but just couldn't locate what he was searching for. As such, a lot of jams started out with a very deep and probing theme which failed to reach resolution (e.g., the second Fire jam, and the post verse one Other One jam). They had to shrug themselves of the 1978 haze. Still in search of their first exceptional show with Brent Mydland, the band next traveled to Easton, PA.

Set 1: 7.25
Set 2.1: 7.375
Set 2.2: 7.33
Set 2: 7.3525
Show: 7.3

Jack Straw 7.2
Sugaree 7.6
El Paso 7
Friend Of The Devil 7.2
All Over Now 7
Tennessee Jed 7.15
Dancin 7.6

Scarlet 7.5
Fire On The Mountain 7.5
Sampson & Delilah 7.1
He's Gone 7.4
Space 7.75
Other One 7.5
Wharf Rat 7.2
Sugar Magnolia 7
OMSN 7.2

*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 ©