I just want to make sure that you know that the moments listed below are really cool.
You think the "Sheik Yerbouti" version is good? Well, you better sit down before this one comes on. Frank at his best (no, I mean that- this just may be Frank at his best).
Frank and Shankar musically attack each other for 12 intense minutes. Shankar holds his own against the master, forcing Frank to whip out some of his most inspired playing of the tour.
For me, these solos represent the highlight of the entire YCDTOSA series, and they should have been nothing more than another example of what the Stage series was about. Sadly, they are a lone source of inspiration among a pile of routine performances. Yes, Wolf's solo is great, but just how integral is O'Hearn to the success of this jam? And amazingly enough, he sounds even better on the tape.
Taken as a whole, these two performances are an excellent example of Frank's understanding of contrast and relief in music. Two musical extremes, joined together as one, serving as a mighty impressive one-two punch. Plus, "Mars' Extravaganza" is one of the most impressive displays of pure improvisation ever.
What a suite of songs, and an even better example of Frank's unique sense of contrast-and-relief. We get a typically frantic Mars' solo, O'Hearn's hilarious "Lobster Girl", Barrow and Colaiuta's very own "Black Page", and the Twenty-One freak-out to top things off.
Possibly the best opening solo of the run, which is no small statement considering the quality and diversity of these opening solos. But then again, how could you go wrong when the solo arrives in a vehicle such as this?
Mars' best solo of the run sets the stage for this somewhat chaotic "Little House" performance. What could be better than Frank, Shankar, and O'Hearn all fighting for solo space?
This would eventually appear as "Sinister Footwear, 3rd Movement" on the "You Are What You Is" album. Of course, it sounds even more insane in its proper context, with Vinnie and the bass players wailing away behind Frank.
Part of the success of this tune is due to its excellent placement in this show. But then again, this early version of this eventual encore favorite has enough rawness at this early stage to make it succeed anywhere.
An excellent Thirteen, Frank and Shankar going at each others throats, and then some really weird rhythm changes during the keyboard solos- this "Pound for a Brown" brings the "normal" part of the Big Show to an early climax.
That's all, folks!