The Grateful Dead

Date: May 7th, 1979 
Venue: Allan Kirby Field House, Lafayette College 
Location: Easton, PA 
5th Show of 1979 Spring Tour

Brent's 5th show with the Grateful Dead was to be the first charm of many.

Don't Ease Me In began the show and was very rowdy and filled with jubilation. Jerry's first solo was excited and quite flavorful. The transitions during the song portion were slammed with authority and confidence. The band seemed to be quite on. Jerry's second solo started slowly as it seemed he may have been waiting for a Weir slide solo. But, he picked it up near the end and provided a very nice tumbling cascade that landed into the final recourse. The song ended with a huge Lesh bomb. The crowd went crazy. This was a quality and exceptional start.

Weir next rode in with Me'n My Uncle. This version was also rowdy and hyper as the band continued to emphasize the chord changes. Jerry's solo was incredibly fast and flavored. He seemingly was spitting out notes. The finale was a bit flat, though.

Muncle flew into Big River and the opportunity for Jerry to improvise arrived. Jerry provided an extended intro solo before the first verse that certainly had flavor. Jerry's first solo had a fast pace that increased the overall tension of the song. Brent's solo was very well done and loaded with flavored patterns. Jerry's second solo, however, was nearly all exceptionally flavored patterning. Indeed, Jerry was able to escape the chord pattern and create tension filled patterns that epitomized classic Big Rivers (e.g., 6.16.1974, 11.11.1973).

Jerry next chose Candyman. This was an interesting choice because it altered the theme of this performance from fast paced rockin' roll to fast paced and ephemeral music. Indeed, this choice broadened the possibilities of the show and showed that the band was recovering from the nearly one-dimensional aspects of 1978. The overall feel of the 5.7.1979 Candyman song portion was dreamy. The solo from Jerry was well done and loaded with flavored riffs. The finale of the song was quite exceptional as the vocals and Jerry's riffs created a tensioned filled ending.

During the tuning break the crowd is nearly silent except for the occasional scream indicating that the band had captured the crowd into another deep zone.

Next Weir broadened the scene even more by mixing in the ballad of Looks Like Rain. Verse to verse, Weir generated ascending tension that made this a relatively angry version. Jerry's solo was piercing and direct. The vocal finale has a passionate interplay between Jerry's guitar riffs and Weir's howls. This was a quality version.

The band was showing its diversity. Indeed, after 6 songs, the band had covered rockin'roll, country rock, psychedelic song, and passionate ballad. 

Tennessee Jed rolled in next. This was a very slowed down version as each beat took a full second. This allowed Jerry to accentuate and exaggerate his vocal presentation (e.g., "kiiihhhiccked my doaaaggg"). Additionally, the slowed pace allowed a very well done jam finale that started at a creeps pace and ascended to a monstrous peak that Jerry stuffed with flavor. Weir deserved honorable mention for his superb slide rhythm during the main jam as well. Another exceptional version.

Weir returned the show to rockin' roll with Minglewood Blues. This was a relatively slow Minglewood in which the band accentuated the chord changes. Weir's vocals also shined as he released numerous screams. Jerry's solo was well done (but not as well done as 2.26.1977). The main jam had a very flavored Mydland solo followed by a Weir slide solo. The Weir solo was well done and reached a flavored pattern. Jerry did not have a turn during the main solo. While not exceptional, this version was above average.


Jerry returned the show to numbing calmness with Peggy-O. The song portion was carefully delivered by Jerry as he thoughtfully delivered the lyrics. The solo was extended and reached flavored heights.

Indeed, the band was returning to the relaxed and extended show. 1978 was now in the past and with it the exaggerated and sloppy performances. The band, especially on this particular night, truly seemed to be trying to reach heights not visited since May of 1977. 

Heading up on the conclusion of this first exceptional first set of 1979 for Brent, Bobby launched the band into Passenger. This was a clumsy version with a sizzling Jerry solo with honorable mention to Lesh. Despite the flubs during the song portion, Jerry's solo lifted this version from above average to exceptional.

Shakedown Street starts the second set and extinguished any speculation that the first set was a hoax. The band was hypnotic in their delivery of the song. The pace was slowed down considerably allowing Jerry to precisely sing each and every lyric. The jam was extended and exceptional. Jerry's meandering began with slow smacking in pace with the rhythm, but eventually he accelerated and begins diving above and below the rhythm. The peak of the jam began with a cascading from Jerry that threw the timing of the rhythm off. Jerry landed in a pattern cycling that started slowly but quickly increased in pace. The band latched on for the ride and Jerry sent it straight into pure Jerry bliss. The patterning was fast and psychedelic and likely was the finest moment for the new Grateful Dead (up through this moment of 1979). Indeed, Brent's tutorial had now advanced from the advanced coursework to doctoral seminar.



Jack Straw continued the intensity left in the aftermath of Shakedown. This version was careful yet scalding. The band delivered the song portion with exceptional precision. The jams were also precise but more aggressive. The main jam ended with a fluidic explosion complete with fanning and exceptional improvising. Of note, this Jack Straw truly showed the band moving beyond the Fall 1977 to 1978 sludge. Jack Straws from 77 and 78 were often over exaggerated and nearly sloppy. This 5.7.1979 was precise and impeccably improvised during the jam portion. Indeed, the band was reinventing itself.

The band was really in the "zone" at that particular moment. Jerry wanted one more song before the jam portion of night, and he selected Stagger Lee. Continuing with the slowly paced tunes, the pace of the 5.7.1979 Stagger Lee permitted Jerry to overpronounce the lyrics to a tee. Indeed, perhaps the highlight of this version is hearing Jerry sing each and every verse with distinct emphasis. Jerry's solo during the song portion is careful meandering. The main jam has Jerry mixing rhythm and notes, but the song is catapulted to exceptional status with Weir's slide effort. The zenith has Weir providing nearly ear piercing notes in synch with Jerry. Indeed, this was a delirious moment. The listener will be hard pressed to find a better and more delirious version of Stagger Lee.

The band was stinking exceptional at this moment. This rapidly was becoming one of their finest shows ever.

Next, the band launched into the extended portion of the show with Estimated. Herein is the only marked flaw of the evening. During the in song Estimated jam Weir cut Jerry's solo off. The solo up to that point had been quite exceptional and well delivered but certainly hadn't peaked. This does tarnish the version a bit. The vocal finale is superb as Weir's screams are exasperated but passionate. The outward solo begins with a very interesting Mydland solo which had a lot of jazzy flavor. This lasted about 3 minutes with Jerry providing interesting rhythmic licks. Jerry's jam started with a series of incredibly fast note runs lasting about 5 seconds followed by three second pauses. Next, Jerry entered a beautiful and very complicated Eyes transition. Indeed, Jerry emitted a pattern comprising 6-10 second Estimated spurts ending with an extended Eyes note (e.g., 2 seconds). The band caught on and changed the tempo while Jerry cascaded into Eyes. Instead of immediately beginning Eyes, Jerry created an extended deep and probing jam that had both Eyes and Estimated flavors. The finale to this transition had Jerry emitting a complex spinning pattern that dropped into the Eyes chords. While not as deep or improvisationally blessed as the Estimated jam from 1.20.1979, this Estimated transition to Eyes was remarkably complicated and well done, and certainly made up for the in song flub wherein Weir cut Jerry's solo short.

Eyes is a lesson in guitar speed. The frequency of note presentation during Jerry's three solos is astonishing. The song solos are flawless and incredibly fast. But additionally, the solos meander into and out of mini-peaks before reaching apexes. The second solo ends with a passionate cycling loaded with fanning and complicated progressions. After the final verse, Jerry continued the onslaught with a fast paced and flavored solo that lasted another 6 minutes. Indeed, Jerry was having one of his better nights on 5.7.1979.

After the drums segment, Lesh starts out Space with bass plucked harmonics. Mydland quickly entered the seen with bizarre sounds. Weir added feedback and Kreutzman bongo rhythm. Jerry meandered carefully with heavy reverb. The space became very bizarre and had a heavy theme of panic. This again was a very impressive 1979 space. Several moments of sheer panic and delirium are reached.

NFA is entered next. It isn't obvious at first as Jerry heavily hinted at Truckin'. The NFA wasn't sprinted into, but rather delicately skipped into. Lesh provided a very impressive bass solo introduction while Jerry strummed his E chord. Jerry's first solo is a delicate meander with noneother than John Cippolina providing rhythm along with Weir. Jerry's solo slowly gained complexity. After the first verse Jerry took the reins for a relatively tame solo highlighted by a very strong Lesh rhythm and the Cippolina rhythm. Post verse two, Jerry provides a transitional lead that drops into a Lesh lead that is very impressive. While not technically a Lesh solo, this was filled with huge bombs. After Lesh, Cippolina took lead. Cippolina's lead was heavily rhythmic but had some nice flavor. Next Weir took a slide solo lead wherein he pierced the high end notes in a display of delirium. Jerry returned for a seeming transition to another tune, but the rhythm (mostly Weir) twisted the solo to a return to NFA. Indeed, Weir basically stole Jerry's solo as he began the slide high notes. This lead to a third NFA verse wherein Weir trashed his vocals in tune (e.g., Not Fade Awaaahaaayy!!). While Jerry was clipped during the main NFA jam, the Lesh, Cippolina, Weir solo's were quite flavored and well taken, along with the Weir vocals at the song's conclusion, and along with the overall Lesh effort make this an exceptional version. The transition from Jerry after the Weir screaming is extended and dropped into Black Peter.

The Black Peter is well done. The band emits a very passionate vocal reading, and the Jerry outward solo is piercing at times while gaining a lot of momentum.

Round and Round is heavily hinted at during Jerry's Black Peter outward solo. This version is extremely well done. Jerry's first solo has a lot of flavor and Cippolina's solo is perfectly timed and filled with rockin' roll roots flavor. Jerry's finale solo is paced at a breakneck speed and loaded with complicated patterns. Weir ended the tune with in-tune screams.

The band encored an above average U.S. Blues with Jerry's solo being highlighted by Weir's high note slide movements.

And so ended Brent Mydland's first exceptional show with the Grateful Dead (e.g., 4.22, 5.3 and 5.4.1979 were above average as a whole, and 5.5.1979 was average). This must have been a special night for Mr. Mydland as he was able to participate in the magic of Jerry Garcia first hand. The adventure now was truly in motion for Brent, and this first tour for him was not even half way complete. Would this magic continue into the next show at Penn State on 5.8.1979???

Set 1: 8
Set 2.1: 8.63
Set 2.2: 8.14
Set 2sum: 8.38
Show: 8.1925 

Don't Ease Me 8
Me'n My Uncle 7.5
Big River 8.15
Candyman 8.15
LLRain 8
Tjed 8.3
Minglewood 7.6
Peggy 8.1
Passenger 8.1

Shakedown Street 9.25
Jack Straw 8.5
Stagger Lee 9
Estimated 8
Eyes 8.4
Space 8.75
NFA 8.25
Black Peter 7.75
Round and Round 8.15
US Blues 7.8

Wherein lower than 7 is below average, 7 to 7.49 is average, 7.5 to 7.99 is above average, above 8 is exceptional, 9.5 and among the finest versions ever. I heavily rank each song based upon Jerry's guitar solos and how flavored they are.
Rob Goetz ©