![]() ![]() ![]() To that end, the band's April 30th show at the Palladium - the first release in their downloads series, and the sixth extended release from the spring of 1977, including one box set - has an advantage on the much revered show recorded in Ithaca on May 8th: an actual open-ended jam. It was also a show previously uncirculated in soundboard form by the Deadheads, recorded by renowned Dead engineer Betty Cantor-Jackson. For listeners wary of long "Dark Star"/"Playing in the Band" excursions or endless drum jams of the early years and the embattled arena behemoths of the 1980s, 1977 provides a safe middle ground (and a good starting point for new listeners). It was during that period that the Dead struck what, for many, remains the perfect balance of tightness and energy of performance, without too much undue experimentation, before Jerry Garcia's focus dissipated into drug addiction in the years immediately following. Rivaling the spring of 1972 as the most-plundered season in the Grateful Dead's live catalog, the spring of 1977 found the Dead playing at their platonic best. ![]()
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