A very nice 'Gin at this show, fwiw... Crispy boards of this show are
out there, so keep yo eyes open. The ending of Gin is stretched out a
bit...

Trey really botches up the opening segment, before the pre-Nirvana
build comes in.  He fumbles around.  Not pretty.  Here's another
lengthy pre-Nirvana segment.. it appears this arose in '92, and they
are still doing it today (although most of today's versions have
severely long pre-Nirvana builds, with a "Vibration of Life" in them).

This is one of those boards that Mike is very prominent in the mix
of.. I was just listening intently to him, and spaced.  (if you are a
big Mike fan, get all the '92 SBDs you can.. hell, he's up in the AUD
tapes, too, given the size of these damn venues)

The pre-charge and Notes are standard.. Trey's jamming is nice around
the second Note, but not the first, which was pretty blah.

"Boy" at 5:24 with a serious scream from Trey beforehand.. and some
distortion.  Ooouuu.. love listening to Mike so clean in da mix..
Yeah.  Who said that Paul swore that he didn't turn Mike down in the
last few years?  This  sounds ridiculous to me, upon listening to
these '92 boards.  I mean, the cleanly digital '94 boards that got out
(not to mention 6/6/96) have Mike nowhere close to this loud.  ANYWAY,
the WUDMTF segment, is more/less standard.  Trey repetitively plays a
note in here.  Mike's signals in this tramps jam are akin to the
beginning of "Another Brick in the Wall"'s bass line, in part (not in
toto), given the rhythm (he often plays these notes, but just not in
this "Another Brick in the Wall" manner).  Page's jamming throughout
here is very intense.. this is a great jam, folks.. OUCH!!!!  Trey,
just before 9 minutes, starts teasing "Shaft," in that he plays THAT
SAME NOTE that is repetitively played in both "Shaft" and in the
recent Albany YEM.. groooooooooovy....

Damn.  Trey is Carlos Santana in this spectacularly beautiful jam
segment.  I vaguely hear "I Ain't Got Nobody, That I Can Depend On,"
whatever the hell that Santana tune is called.  Anyway, Trey's soloing
is intensely melodic and thematic.  It tells quite a story, and I
could not recommend this enough, especially given Mike's *GREAT* and
funky accompaniment in the mix and his prominence.  Bass and drums
comes in wicked early for recent versions at 13:45 or something like
that.  Only it ain't the bass and drums segment!!! Trey just gave up
on the jam segment, until 14:15, WHEN HE STARTS PLAYING OYE COMO
VA!!!!  He plays it until 15:00, when the bass and drums segment
enters, and Mike just goes crazy.. awesome.. Mike is snappy and funky
and quick and melodic, even though he doesn't go all over the 'doc.

At 16 minutes, the WUDMTF closing segment begins, and within 20
seconds everyone is vocal jamming.  Vocal jam sounds like "shaggy
shaggy dog" at one point, but other things at other points.. it is
ok.. not nearly as interesting as the 5/6/92 vocal jam, though.  Some
wild echo effects in here, as well as crow CAW-ing sounds.. Sorry, but
this vocal jam does nothing for me.. the final twenty seconds they
eerily chant, almost, echo effect *on* .. very screwed up..
psychotic... spooky.  Not nice to those dosing.  Total time 21:23,
i.e., very long for this era.  (B+ rating)