Nut Hatch - February 1973: The First Three “Eyes of the World” Jams

mp3 compilation here 


  • Eyes Jam #1 (2/9/73 Palo Alto, CA) (10:22)
  • Eyes Jam #2 (2/15/73 Madison, WI) (9:33)
  • Eyes Jam #3 (2/19/73 Chicago, IL) (12:22)
  • Eyes Jam 2006 (11/8/06 Lesh & Friends recreation) (10:24)

I wish I could take this further, but I don’t have soft copies of the fourth, fifth, or sixth “Eyes.” “Dick’s Picks” #28 picks up the story after that.

The Grateful Dead debuted a whopping seven new Garcia tunes at their first show in 1973, one of them being “Eyes of the World.” 

Obviously, there had been some serious band work between the 1972 New Year’s Eve show and the first 1973 show, such that all these numbers were, more or less, ready to go, and “Here Comes Sunshine” had its whole jam sequence worked out in advance. 

However, the soon-to-be trademark ’73-’74 “Eyes” jam had not been worked out in advance, although the band was clearly determined to make it a jam from the get-go, and the key ideas are already lurking in the first live performance. 

Once it did get worked out, the song’s jam tended to progress through several, fairly predictable stages, until it reached a series of (usually three) synchronized riffs. Sometimes, after those riffs, the band would jam on for a while; more often, they would rapidly dwindle to a transition to a new song.

That jam is under construction across these initial three “Eyes” jams, which are at the same time unlike the “Eyes” jams to come, more wide-open and questing, as you’d expect. 

It’s hard for me to say whether this sounds more like 1972 Dead playing 1973 changes or 1974 Dead going into unexpected, noodle places with a 1973 theme. In reality, it’s the Dead at the dawn of 1973, having fun in a brand-new sandbox that they’re eager to explore – the highest praise I can give this stuff. 

It is impossible for me not to think about the eruptions of “Slipknot” into the band’s 1974 jamming (compiled here) when listening to this evolution of the “Eyes” jam. They are so similar, ultimately, as focused knots of this era’s Dead sensibilities. 

I haven’t figured out the precise origins of the "Eyes" jam's synchronized riff in this material, but it seems like a Garcia idea that Lesh decided to formalize into something discrete and dynamic. Garcia threw it out and meandered through it, while Lesh thought it was pounce-worthy. I'm probably wrong, but the audio evidence is here for you to assess yourself. 

I have added to this compilation what I think is a rather remarkable 2006 appendix to the history of the 1973-1974 “Eyes” jam, and a fine bookend to these early “Eyes” jam explorations. In 2005 or 2006, Lesh invited people to apply to “Phil Lesh University.” As I understand it, he selected two bands from the applicants, asked them what they wanted to play, rehearsed with them for a day, then played an unorthodox show, in which each band got a set. The Garcia figure in one of the bands, Ethan Franzel, wanted to play a 1973-1974 “Eyes,” and he ended up having to re-teach Phil the jam. (Understandable, I guess, since Phil probably hadn’t thought about it since 1974, while fans never forget.) This lucky guy, Franzel, also got to be Jerry for “Dark Star.” The whole improbable show is streamable here

In any case, at the other end of the invention of the “Eyes” jam, we get a remarkably tight recreation of the ultimate structure of that jam, some 30 years after the fact, featuring Lesh, who seems to me to have been the leader of that earlier structuring. 

Update: I contacted Franzel, who had this to say:  "Before the Phil show - maybe a month or two before, right after the bands were set - I spoke with the other guitarist in my set, Greg Fain. We knew when we spoke that it was going to work. Plus we fit into natural roles - I played lead when things were more "jammy" - that's why you hear me taking the lead on the Eyes jam and on Dark Star. We knew what tunes we were playing at that point, and Fain and I wanted to get together beforehand to run the tunes, figure out compatibility, etc. We discovered on the phone that we both - upon discussing the setlist with Phil (ha! That was a great phone conversation, just me and Phil talking about music and spirituality!!) - wanted to do the 73/4 Eyes jam. So we were simpatico from the start, and Phil was amenable. I sent out the chords and the structure to the other musicians so that they would be 100% ready for it when the time came to rehearse. When we actually did it live, the reaction was pretty much what you'd hope it would be - a bunch of Heads grooving on something that they hadn't heard Phil do in a really really long time. I remember telling Phil "that next chord is a C diminished." It was awesome to tell him the sequence! Of course, the first time we rehearsed the riff at the end, in 7/4 time, his fingers instinctively played the harmony part that, as far as I know, he hadn't played since 1974. It was probably the highlight of the whole event. Rehearsing that riff."

The Chicago audio comes directly from Dick Latvala, who sent the show’s second set to me with the note: “Hi John. Thanks for sending me that interchange w/Pig. I decided to record over it with something that is PRETTY NICE. – Dick” 

Shortlist: Watkins Glen – July 27-28, 1973

mp3 compilation here (re-loaded to add a few more minutes of music)

Part 1 (43 minutes):

  • Brown-Eyed Women (7/28)  (4:56)
  • Bird Song (instrumental edit - 7/27)  (11:21)
  • Garcia & Lesh > (7/28)  (1:05)
  • Eyes of the World (instrumental edit - 7/28)  (16:17)
  • Sing Me Back Home (7/28)  (9:19)

Part 2 (43 minutes):

  • Here Comes Sunshine (instrumental edit -  7/28)  (6:41)
  • Deal (7/28)  (6:09)
  • Playin’ Jam (7/28)  (20:26)
  • Nobody’s Fault Jam (7/28)  (2:06)
  • China Cat Rider (instrumental edit – 7/28)  (8:01)

    (Cover image: Luigi Serafini)

    This mix aims to figure out what happened at Watkins Glen, other than the amazing, famous, 20-minute improvisation from 7/27: “The Watkins Glen Jam.” That jam isn’t included here, but it can be found on the official release, “So Many Roads,” and in part on an all-improvisation mix I made and posted here. Among other glories, that jam includes an early, extended trip into “Fire on the Mountain” territory. 

    One show was scheduled at Watkins Glen; two were played. The venue was a racetrack, and the context was “Summer Jam at Watkins Glen,” scheduled for one day, July 28, 1973, featuring The Grateful Dead, The Band, and The Allman Brothers Band. However, so many people had shown up by the 27th that the sound check became a concert in its own right, The Band and Allman Brothers playing a couple songs each, and the Dead playing for 90 minutes. 

    Wikipedia’s got a good article about the festival as a whole, and The Dead have posted a nice tribute to the “sound check,” which includes complete, streaming audio.

    I got intimate with the shows because I wanted to know what kind of other improvisational playing occurred around that epicenter of excellence, “The Watkins Glen Jam.” (Just like you want to hear the August 1972 Berkeley Community Theater shows, because they immediately preceded Veneta, OR.)

    It turns out that there was plenty more stupendous improvisation at these shows, as well as a few highly pleasing examples of more routine songs. By the end of my own listening/culling saga, everything I continued to love came from the 7/28 show, except for one mind-melting performance from the 7/27 “sound check.”

    Two of the jam passages seem notable, beyond simply having great playing:

    • “Bird Song” and “Dark Star” are almost the same song to begin with, but this extraordinary “Bird Song” demonstrates the resemblance to an uncanny degree. 
    • This long “Eyes of the World” jam becomes a real adventure, eventually hitting the synchronized riff five times, including one that becomes a fantastic moment of disintegration and one that commandingly bookends the song. The others are all in the pretty-solid to not-together range, but I don’t think that diminishes the thrill of the whole thing very much. (Is a five-riff “Eyes” a record?)

    SOUND QUALITY/EDITING CAVEATS: There’s a soundboard tape-flip gap during “Bird Song” that I joined up, and there’s a little jog in the “Playin’” jam that has nothing to do with my edits. My soundboard (or perhaps all soundboards?) also suffers from some tape-speed wobbles and warps. You’ll hear those in a couple of places, but mostly they didn’t impact the music I thought was worth pulling aside.


    Shortlist: October 25, 1973 – Madison, WI

    Zipped up file of mp3s here

    53 minutes:

    • Here Comes Sunshine
    • China Cat Sunflower > I Know You Rider
    • Weather Report Suite
    • Playin’ in the Band jam

    48 minutes:

    • Dark Star (including Mind Left Body) >
    • Space >
    • Eyes of the World >
    • Stella Blue

    In addition to the great performance, this soundboard features a superb mix, including the vocals. There's only one excessively sour harmony moment in "Here Comes Sunshine." (The cut around the 9 minute point of "Playin'" was in my source.)

    Dick Latvala discussed this show in his best of 1973 list:

    Now we get to one of the all-time, out-of-this-world kind of shows: 10/25/73. I really can't say enough about this one! The first set is very good, but it is the second set that does you in. 

    The "China Cat->Rider" is one of the better ones from that era when they used that transition material that people call "Tighten Up" and other names, and I am just as confused about this as the next guy. So, a detailed discussion about that wonderful "jam" occurring towards the ends of some "Dark Stars" from 1969 and 1970, (and which is stated as beautifully as I could ever hope to hear on 4/8/72- Wembley) and which also could be occasionally intimated during some versions of "Dancing in the Streets", that kind of discussion is something that I would like to learn more from some of you guys who have been investigating this. 

    But not right now, since I need to finish gushing all over this Madison show. The "Dark Star->Eyes->Stella Blue" is where the action is! There are "jams" surrounding these songs that contain some very, very scary and unbelievable playing. A bass sound that Phil employs here will pretty much have you seriously thinking that this might be too much! Obviously, words will never get this described very well, at least not my words. The "Eyes" is another one of those "best versions" type of things.

    Shortlist: June 30, 1973 – Universal City, CA

    Zipped file of mp3s here

    Part 1 (52 minutes):

    • They Love Each Other
    • Jack Straw
    • Beat It on Down the Line
    • Ramble on Rose
    • Bird Song
    • Black Peter
    • Playin’ in the Band

    Part 2 (43 minutes):

    • Dark Star >
    • Space >
    • Eyes of the World >
    • Stella Blue

    This 20-minute “Eyes of the World” is generally excellent, but it goes above and beyond in the final stretch: They hit the synchronized riff in the jam a fourth time, after bringing things down to a hush, via a Keith-centric jam - only to return to full-out jamming for a couple more minutes. All 11 minutes of the "Dark Star" are focused and forward moving, while also having quite a few distinct, dynamic little passages. "The Bird Song" is a very light, dreamy one. 

    These songs and the others listed above escape a problem that plagues much of the rest of the recording of the show. The mix (as encoded on the circulating soundboards) has Garcia’s guitar so low that it vanishes sometimes and is never out front. I explored a matrix recording, in case it brought Jerry up significantly, but it didn’t. Many songs just sound incomplete, because the shy lead guitarist is standing at the back of the stage, using a tiny amplifier. Songs like “Row Jimmy” can’t lock up into a groovy mechanism with one of the interdependent gears all the way back there.

    However, the frustrating mix doesn’t always get in the way. Sometimes Jerry is quiet, but the whole comes together nicely anyway. Other times, the spaces afforded by the song and arrangement (or jam) naturally give his guitar more room to stand out, and you hear the music complete, without making an effort. 

    Beyond the guitar volume issue, this SBD has a rich, round sound, and the vocals and vocal mix throughout are way above average. What the mix loses of Jerry’s guitar is more than made up for in its warm embrace of his vocals.The "Black Peter" and "Stella Blue" are both treats in this respect.

    The space after “Dark Star” segued directly into the opening of “Eyes” in the show itself (and on audience/matrix recordings), but my SBD fades out shortly before that transition. Sorry about that. I promise that not much is missing and that the clean SBD source is what you want to get familiar with.

    Shortlist: December 1, 1973 – Boston, MA

    55-minute mp3 download here

    • Weather Report (instrumental edit) (2:42)
    • China Cat Sunflower > I Know You Rider (14:51)
    • Big River (5:14)
    • This Lame Trip 1 > (2:40)
    • Me & My Uncle > (3:20)
    • This Lame Trip 2 (2:14)
    • Playin’ > Uncle John’s Band > Playin’ (instrumental edit) (23:41)

    You might well ask how I ended up with only 55 minutes from a 3.5 hour December ’73 show. Well, many songs are just okay or include little flubs and hesitations that make them less than exemplary performances. Additionally, when everyone is singing, it’s generally a mess of yowling and non-harmonizing, stabbing you in the head through a crystal clear SBD mix. 

    But these 55 minutes, at a minimum, are completely excellent. 

    “This Lame Trip” is an astonishing, and at times even virtuoso, stage banter performance featuring Phil, Bobby, and Jerry, often with spontaneous musical accompaniment.  “This Lame Trip 2” is one of best improvisations of the show. (The situation was that the police wanted the aisles of the stadium cleared.) The band also prevents Bobby from promising that they will re-learn "St. Stephen." 

    The two cowboy songs are both crackling, and the "China > Rider" is a grand one.

    The improvisational highlight of this mix is a "Playin' > UJB > Playin'" from which I've removed the vocal sections and segued a continuous jam. The harmonizing on "UJB" is acutely painful on this version, but musically it's an outstanding example of this particular song sequence: Without ever spacing out, the "Playin'" jam leads directly into and extended exploration of the "Uncle John's Band" theme, and as usual, "Playin'" reemerges smoothly out the end of the "UJB" jam. So, with such painful vocals, this seemed like the right version of this sequence to turn into an instrumental jam. It flows from the first note of "Playin'" through the last note of the "Playin'" reprise without any singing and without wandering into any deep space. 

    I also made an instrumental edit of the show’s “Weather Report Prelude > Part 1.” The harmonies were very bad here, too, and there were a couple of stumbles during the verses. However, the playing on this version seems extra meaty to me (rather than thin and spindly) – almost “Stella Blue”-like – so I did my best to create a stand-alone instrumental piece. 

    If you like these instrumental edit experiments, there are a bunch of them here

    Shortlist: September 11, 1973 – Williamsburg, VA

    Ladies and gentlemen… Bob Weir and The Grateful Dead.

    75-minute 192kbps mp3 download

    • Looks Like Rain
    • Message to Shouters
    • Weather Report Suite: Prelude > Part 1 >
    • Let It Grow (with horns)
    • Let Me Sing Your Blues Away (with horns)
    • Mississippi Half-Step
    • Jam > Dark Star
    • Jack Straw
    • The Race is On
    • Beat It On Down the Line
    • Playin’ in the Band

    Between recording “Wake of the Flood” during the first half of August and the album’s release in mid-October, The Dead played eleven shows in September, all but the first two of them featuring the album’s horn players (Martin Fierro and Joe Ellis) on three songs. ("Eyes of the World" with horns debuted the night after this show.)

    Williamsburg was the first horns show, featuring the 2nd ever performance of “WRS Prelude > Part 1” and the 3rd ever performance of “Let It Grow.” Probably because they’d just been rehearsing and recording these compositions, this is one of the tightest, by-the-book, performances of the whole suite that I have. Plus, it’s got exciting horns!

    It’s just by chance that almost everything that stood out to me in this show is authored and/or sung by Bob Weir. This is one of the best performances of “Looks Like Rain” I have heard, so gentle and nuanced in all respects that I took the opportunity to start the shortlist sequence off in hushed beauty, rather than with the traditional bang of a Grateful Dead concert.

    “Let Me Sing Your Blues Away” is a mess, but it’s such a rarity that I had to keep it, and I enjoy it too. 

    Shortlist philosophy: Start with a good soundboard of an unreleased show, and keep only what you honestly want to hear again and again. Be song-agnostic; look for outstanding performances of anything and everything, and reject an average performance of any song, no matter how grand that song’s generic status as a big deal may be. Whatever’s left, edit out the tuning and other delays, and arrange everything into a pleasing sequence. Share the results in lossy mp3 format, in the spirit of the cassette tape trading of my youth, diligently not trying to compete with or annoy Grateful Dead Enterprises, whose property this music is. 

    Shortlist: December 18, 1973 – Tampa, FL (Just the Jerry Songs)

    LP 1 (42 minutes):

    • Tennessee Jed
    • Brown-Eyed Women
    • Peggy-O
    • Eyes of the World >
    • Wharf Rat

    LP 2 (46 minutes):

    • Bertha
    • They Love Each Other
    • Deal
    • Row Jimmy
    • Dark Star
    • Uncle John’s Band

    192kbps mp3 download

    This is every Garcia-written song (plus "Peggy-O") from this show, and it’s quite a fine selection of tunes, played consistently well. There’s a small snag here and there, but I haven’t encountered another show that you can slice this way with such a good result.

    I also can’t think of many shows where both the band and the sound mix were ready for business on the first song. The Dead played “Tennessee Jed” a million times from 1972 through 1974, but they only opened two shows with it, and this is one of them. The result is a version that stays restrained and deliberate throughout, never becoming as fully deranged as it typically did in the final instrumental break.

    The last song of the show was “Uncle John’s Band,” and this is a version I find pretty satisfactory. I rarely like 1973-1974 UJBs much, because the melody gets tortured by the singing, but this performance and mix get it closer to the right place than many. It certainly ends the show nicely.

    This is the first version of “Brown Eyed Women” I pulled aside for one of my mixes. I’m not sure why I perceive The Dead as hardly ever nailing this song between Europe ’72 and sometime in 1976 or 1977, but whatever I typically find lacking, this one doesn’t lack it. The opening bars are wobbly, but so it goes.

    The “Eyes of the World” is nearly perfect throughout, and the jam continues to cook after they’ve finished the climactic synchronized riff sequence. The “Wharf Rat” that follows is not one that pounces on the big moments the way some do, but I can’t fault its overall approach to the drama, and the extended coda/fadeout is a nice touch.

    The “Row Jimmy” is one of my favorites. “Peggy-O” is beautiful (if not transcendent), one of only three played in 1973, all in December; the next one would be in May 1974. “They Love Each Other” has the bouncy syncopation you’re looking for, with nice rushes of intensity. “Bertha” is rather explosive (originally sandwiched between “Promised Land” and “Greatest Story, giving it extra propulsion). And Jerry's so into "Deal" that he throws a bunch of extra little vocal punches.

    I’ve always liked this simultaneously compact and restless “Dark Star,” pursuing the melody prettily and nonchalantly for about five minutes, then considering other options for a few minutes, including a little hint of the “Mind Left Body Jam” and a brief dance with “The Other One,” before settling in for a perfectly executed verse of “Dark Star.”

    If you like the feel of an all-Garcia show, you will also like this.

    Shortlist: June 22, 1973 - Vancouver, BC

    90 minutes of gold, extracted from a messy, 240-minute show - 192kbps mp3 download:

    Episode 1 (48 minutes):

    • Here Comes Sunshine (instrumental edit) (8:16)
    • Bird Song (13:45)
    • A Few Words from Phil (0:19)
    • Playin’ in the Band (18:34)
    • Looks Like Rain (6:58)

    Episode 2 (45 minutes):

    • China Cat Sunflower > I Know You, Rider (14:01)
    • Jam > (8:36)
    • The Other One > (6:59)
    • Industrial Space > (6:15)
    • The Other One. (2:06)
    • Sugaree (7:24)

    I have only had this show for a couple of years, and it has steadily grown in stature for me, as I’ve listened to and pruned it. It is a concert plagued by errors, a combination of flubbed vocals, bum notes, and non-synchronized swimming.

    Over time, a number of performances that are otherwise strong have fallen by the wayside, due to fumbles and dreary patches (e.g., “Jack Straw,” “Big River,” “Row Jimmy,” “Wharf Rat”). “Here Comes Sunshine” made it through with some plastic surgery. 

    Jerry forgot the first line of the song and the first line of the reprise, and therefore understandably never quite seems sure of where he is among the lines that he has sung or not sung. Maybe that’s why everyone sounds so excited to jump into the instrumental breaks; it is, in fact, an exciting “Here Comes Sunshine,” instrumentally speaking. So, I’ve edited out the verse/chorus trainwrecks and made it the jammy overture to the shortlist.

    Similarly, there’s a long jam out of “Truckin’,” in the full show, including a “Drums & Bass” segment, but it never quite reaches anywhere fantastic. Then, eight-and-a-half minutes from “The Other One,” a wonderful stand-alone jam materializes and keeps going.  So I started at the point that jam began to materialize.

    The jam might be the diamond of the show, but the gentle-to-the-point-of-near-evaporation “Birdsong” might be a contender too.  Keith's electric piano is a big part of both of them. And, even as a slut for “Playin’ in the Band” jams from this period, I think this is a notable one. It doesn’t just go to the Playin’ place; it hunts around.

    So, here’s my shortlist case for this show, mined out of a sequence where other stuff went badly wrong or failed to surmount meh. You'll still hear a few wobbles in what I've chosen. There’s even an uncertain moment in the two and a half minute stem song of “Playin',” something you'd think muscle memory alone would make impossible. 

    All in all, I think this is a show where The Grateful Dead mechanism was poorly calibrated to perform songs and well calibrated to groove and explore. It's 90/240ths fantastic – or 37.5% absolutely worth your attention.

    Many thanks to the anonymous master version editor who interpolated quality patches so seamlessly. 

    Shortlist philosophy: Start with a good soundboard of an unreleased show, and keep only what you honestly want to hear again and again. Be song-agnostic; look for outstanding performances of anything and everything, and reject an average performance of any song, no matter how grand that song’s generic status as a big deal may be. Whatever’s left, edit out the tuning and other delays, and arrange everything into a pleasing sequence. Share the results in lossy mp3 format, in the spirit of the cassette tape trading of my youth, diligently not trying to compete with or annoy Grateful Dead Enterprises, whose property this music is.

    Shortlist: March 24, 1973 – Philadelphia, PA

    Disc 1 (60 minutes):

    • Here Comes Sunshine (instrumental edit)
    • Me & Bobby McGee
    • They Love Each Other
    • Stella Blue
    • Looks Like Rain
    • Tennessee Jed
    • Me & My Uncle
    • Playing in the Band

    Disc 2 (64 minutes):

    • He’s Gone >
    • Truckin’ >
    • Jam 1 >
    • Bass & Drums >
    • Jam 2 >
    • Spanish Jam >
    • Spacey Connective Tissue >
    • Jam 3 (Twilight Zoney) >
    • Dark Star >
    • Sing Me Back Home
    • Box of Rain

    192kbps mp3 download

    (Bad link repaired.)

    This is a very good show, and while I wouldn’t put the jam sequence coming out of “Truckin’” in the top tier of such passages, it is excellent and focused. I took the trouble to edit it into its constituent pieces, because the band deliberately starts and pursues each one; there’s very little noodling around looking for the next collective move. If you listen to the trailing off of the “Truckin’” jam, you’ll hear Jerry ask the band about “Dark Star,” by playing the opening notes quietly. No one goes for it; instead they decide to make some music from scratch. Nonetheless, they’re ready to make good on Jerry’s hint 20 minutes later, when all of a sudden we drop cleanly into “Dark Star” and a verse.

    All the stand-alone songs are stand-up versions, and I even pulled aside a “Box of Rain,” which is about as good as it got live in this period. The only radical edit I made was on “Here Comes Sunshine,” removing the extremely awful singing, and turning it into a seamless “instrumental version.” The final singing of the title line at the end is still there (no other way to resolve the song), so you can decide for yourself how much more of that you could have handled. 

    Shortlist philosophy: Start with a good soundboard of an unreleased show, and keep only what you honestly want to hear again and again. Be song-agnostic; look for outstanding performances of anything and everything, and reject an average performance of any song, no matter how grand that song’s generic status as a big deal may be. Whatever’s left, edit out the tuning and other delays, and arrange everything into a pleasing sequence. Share the results in lossy mp3 format, in the spirit of the cassette tape trading of my youth, diligently not trying to compete with or annoy Grateful Dead Enterprises, whose property this music is.

    Shortlist: Radical Edit of 11/14/73 - San Diego

    This is a radical edit to highlight an extraordinary stretch of playing in this show. 

    • Truckin’ (intro and jam) > (8:52)
    • The Other One > Space > Big River Tease > The Other One > (24:18)
    • Eyes of the World (instrumental) > (7:46)
    • The Other One. (4:23)

    It’s really all about “The Other One” in this night's second set, and it’s a doozy. It emerges slowly and organically from a strong “Truckin’” jam, then explores a lot of territory up to the first verse – after which it dismantles itself elegantly into a spare, expressive “Space.” “Big River” provides a dramatic running start back into some more sublime “The Other One” exploration, which eventually finds a reasonable path to “Eyes of the World.” But the second verse of “The Other One” is still hanging, so “Eyes” detours around its usual synchronized jam sequence and instead finds its way back to “The Other One,” which has its grand finale. 

    The purpose of this “radical edit” was to keep this whole sequence intact, but to eliminate the actual songs, “Truckin’,” “Big River,” and “Eyes of the World,” none of which are outstanding in performance or soundboard mix.

    Five pieces were sliced out, and the breaches healed, so that it sounds approximately like The Dead played it this way:

    • “Truckin’” and “Big River”: One cut each, eliminating everything from the first sung word to the last sung word. 
    • “Eyes of the World”: All three verse/chorus segments removed, but the instrumental passages between them preserved and segued together into a single big instrumental “Eyes.”

    It sounds crazy, but the result is a quite wonderful 45 minutes of high-end Grateful Dead instrumental, improvisational adventure through the riffs and changes of several songs, without singing any of them except "The Other One."