Grateful Dead - May 1977 - Extended Edits

What if May '77 Grateful Dead performances of "Brown Eyed Women," "Peggy-O," and "They Love Each Other" were 10-20 minutes long? That question and one other are answered by this mix.

The three mentioned songs are presented in edits that include 8-10 solo sections - combining the most variable portions of the month's performances into tour-spanning extended versions. Additionally, the month's longest "Sugaree" is edited into an all-instrumental version. 

This is a revision of a previous SYF mix, now including the TLEO edit, created after the previous version of this collection. I believe that all these edits were suggested by SYF fans.

65-minute mp3 mix zipped up here

Brown-Eyed Women (12 minutes) 

An extended version that includes the solo sections of nine May 1977 performances. May 28 leads off and provides the first vocal section and solo. The closing vocal section comes from 5/8. The month’s BEW solo sections lasted 40-60 seconds each.

Peggy-O (21 minutes) 

Same approach as with “Brown Eyed Women.” The beginning and end (with the sung sections) are provided by May 9. In between, there are an additional eight solo sections from the month’s performances. Most of the solo sections are ~1:45 in length. May 11 is the longest at 2:30. I skipped one version which doesn't circulate in a good SBD or AUD recording. Only one comes from a non-official source.

OCD notes: For BEW, I sequenced to conceal tempo changes, so it would simulate a continuous, relentless solo break. For Peggy-O, I shuffled tempo here and there, so that the repetition of the instrumental break’s arc would be disrupted by some mood/body shifts. 

They Love Each Other (21 minutes)

This edit includes all 10 Keith and Jerry “They Love Each Other” solo passages from April and May, 1977 - except that three excerpts include only Garcia’s solo. 

It’s a wonderful, woozy conversation, in slow motion. They’re not quite two souls in communion. Keith is a little uptight and resistant, though flirtatious. Jerry’s just like, “Come on baby, let’s go downtown and have some fun.” Except for one night, when Keith was the horny one.

I did the best I could with the segues (jump cuts), given the combo of official sources and fan sources, including audience tapes. The sonic and mood shifts might actually enhance the drama of this dialogue going round in circles.

Sugaree (10 minutes)

An instrumental edit of the May 19, 1977 performance. It was the longest of the month.

Additional May 1977 Save Your Face mixes:

16 responses
Thank you for the Peggy-O mix, it really made my day.
Thanks man 5-77 brings the sunshine again! I love the tempo changes in the Peggy-O mixes.
KB and Parrothead - glad you're digging the edit! Thanks for suggesting it, KB!
This is genius! More please. So pleasing to listen to the endless solo sections woven together.
Paul, I'm glad you're enjoying these. They are not edits I'd have thought of, but I'm glad listeners encouraged me to make them. I wish I could correct some things, but if I didn't make these edits fairly fast, they'd never happen.
Another great ride! There's some really smooth splicing going down around here :) RE - peggy-o The tempo changes really work much better than when the transition is ostensibly smoother, imho of course. The result is more of a seamless whole because to my ears you get the impression, not that the band had thought about bringing things to a conclusion and then carried on anyway, but rather that having done with one exploration they then decide to come again from a different angle, a much more genuine and sustaining sense of momentum results. -- at the same time the ear marks off the passages as the separate entities that they also are. I'm inspired now to try and do something similar for Bertha (which was vaguely mentioned (very vaguely) ages ago. These things really have lasting value!
Tony, you're experiencing these the way I hoped people would, and I'm very glad to hear it! Would your Bertha mix focus on a specific period?
Hi John - well I thought it would probably stay focused on 72/78 (I'm not much into the Dead outside the Donna & Keith years). There are several distinct rhythmic approaches from the band in that period, which I'm thinking can be alternated to give that kind of momentum I mentioned. Also there's the "stop time" (kind of) passage built into the song which I'm hoping will offer plenty of opportunities for the segues. Please suggest dates if you feel like it!!
That'll be really cool! I'll keep my ears open for spicy versions.
This is so cool! Thanks for your hard work putting this together.
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