07-22-1990
World Music Theater
Tinley Park, Illinois
The Dead kick off a sharp night of music with a crisp Box of Rain, pumping up the already eager crowd. Feel Like A Stranger takes the energy up a notch further, featuring some great soloing from Jerry and zesty licks from Brent, who would put his mark on the show throughout. Jerry takes over next with an eerie and haunting Loser, followed up by a jaunty Beat It On Down The Line with a 27-beat start. A juicy, low-riding West LA Fadeaway then comes out, funky as the tune gets before Masterpiece emerges. Midway through the tune the sound system goes off for a moment like, as someone who was there recalled, “someone took the needle right off of the record and put it right back on.” The hiccup does not even get a mention from the band, though they do a little systems’ check after the tune. Then, Brent and Jerry feed off of each other throughout Brent’s final Far From Me. A juicy Tennessee Jed then takes it into a ripping, set-closing Hell in a Bucket, firing on all cylinders with Bobby’s vocals, Phil’s meaty bass bombs, and Jerry’s thunderous soloing.
Coming back in classic form, the boys launch into a rocking Samson, kicked off with a monstrous drum riff from the likes of Billy and Mickey. The rest of the tune is superb, with everyone raising the energy and playing in full-on mind-meld mode. Brent goes crazy next on Hey Pocky Way, firing up the crowd for a little dance-heavy intermezzo. Estimated follows with a ton of power and some hints of reggae before turning loose, jazzy, and MIDI-infused into the transition to Eyes. And that Eyes is kaleidoscopic and exploratory, as the band covers some serious ground without ever getting really spacey. Instead, they save that for after Mickey and Billy’s Drums. Eventually, a beautiful Wheel, all cushy and dream-like, floats out the backside of Space. And, at the end, Phil bombs it into Gimme’ Some Lovin’ before an absolutely gorgeous Stella Blue. Jerry’s aching guitar is the perfect match for the tune, and he arcs off on some luscious solos. Throwing Stones riles up the crowd again before Bobby keeps the energy going with an energetic Lovelight, everyone feeding off each other to see the set out. A far too prescient Knockin’ on Heaven’s Door serves as the encore, funereal and melancholy, as if the band new that their brother, Brent, would be departing in just a few days.
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