Is it just me or has anyone else notice that the opening chord progression of Mississippi Half-Step Uptown Toodeloo sounds an awful lot like a sped up rendition of George Harrison’s “Something”?

I remember playing this on guitar one time and my brother walked in the room and he asked what I was playing. When I told him, he said that was pretty much how The Beatles song went, albeit much slower. I don’t know if anyone else made the connection, but I think of it now every time I hear Mississippi Half-Step. Somewhat interestingly I don’t make the association in reverse, when listening to The Beatles. Go figure.

I didn’t realize it until I just looked it up, but this is the 10th performance of this song of all time (out of a total 235). I always associate this song with 1973 and Wake Of The Flood so the 1972 vintage is cool to hear. I’m well aware that the Dead frequently toured new material before it recording, but I never really thought about it too much with their work in the 1970s. When I think of that I tend to think of the early 80s and how so many of the songs from In The Dark were played for years on end before being recorded and released as a studio album.

The real meat and potatoes on this release is actually the killer version of The Other One, and maybe we’ll get to that in the future. But for now, enjoy Bear’s recording from the Fall of 1972.

There’s very good separation in the recording here. Thanks Bear! Anyway, Bobby is loud and clear on the right side so pay attention to what he’s playing. Jerry manages some nice bends and country twang during the first instrumental break. Every time I hear a recording with clear Weir I’m amazed at his playing. This song is no exception. Keith finally steps up during the second instrumental break, as Jerry sticks closer to the melody. We’re almost half way through the song and we get to the the Rio-Grande-O section. Donna chimes in and I hadn’t even realized she was there. She’s a bit off key in places here, but we’re probably all used to that by now. Billy’s snare really stands out in this section and Keith offers some nice runs interspersed with his block chords. Jerry finally steps to the plate and cranks up the treble on his guitar. You can tell these are single coil pickups with the tone he’s getting. It’s got that trademark bite of single coils.The wind down for this song is quite drawn out, as Jerry begins the descending progression quite early. The dynamics drop WAY down and there’s a bit more talk about the Rio Grande and lazy rivers. It ends kind of abruptly. I was expecting at least one or two more runs through the vocals, but there it goes.

Complete Setlist 9/17/72

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