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 Post subject: Re: Grateful Dead
PostPosted: Wed July 22, 2020 9:27 pm 
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Dick’s Picks Vol. 14 (Part 2) - Boston Music Hall, Boston, MA 12/2/73

This one is a pretty big jump in terms of the show. Everything featured seemed really extended out and went to some amazing places. Beat It On Down the Line, which is by far the shortest song here is actually quite a good version of the song. The Brown-Eyed Woman with tags just seemed like they were having a real good time playing around. Ramble on Rose was really quite good and I was thinking it was among my favorite versions of that song, though I remember it seeming straight forward though looking back it was over 8 minutes. The first part of the Weather Report Suite (best version yet) featured some epic pedal steel work - I kept thinking it was singing - and it just kept building from there on the back of Phil’s bass. That lead into a great Wharf Rat.

Set 2 was just one epic version after the next. Mississippi... was the best yet, the jam after Playing in the Band is mind bending going into He’s Gone, and then the best moment of the show and a top 5 moment for me in this whole journey was the transition from the extended jam in Truckin’ into a stunning(!!!) Stella Blue. That moment is hard to top.

Set 1: Cold Rain and Snow, Beat It On Down the Line, Brown-Eyed Woman/The Merry-Go-Round Broke Down/Beer Barrel Polka, Jack Straw, Ramble on Rose, Weather Report Suite>Wharf Rat

Set 2: Mississippi Half-Step Uptown Toodleloo, Playing in the Band>Jam> He’s Gone, Truckin’>Stella Blue

Encore: Morning Dew


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 Post subject: Re: Grateful Dead
PostPosted: Thu July 23, 2020 2:53 pm 
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Download Series Vol. 8: Charlotte Coliseum, Charlotte, NC 12/10/73

This is most of the show, missing a few pieces from the first set. That first set was a breeze, flying through strong versions of Bertha, Deal, Big River and Don’t Ease Me In - all quite good and seemingly stress free. Playing in the Band seemed long and many good moments in the jamming but a bit that slowed them down.

The real value here, and this is a pattern for ‘73, are epic second sets. Same goes for this show, with Peggy-O cover turned into a ballad, another stellar Row Jimmy, a very good Big Railroad Blues. But it’s from the start of Truckin’ through the end that this show really turns it up a notch. Great great cover of Nobody’s Fault But Mine mixed in, Eyes of the World taking its place among their best live songs to play at this point, beautiful Brokedown Palace, a great jam in the transition from China Cat Sunflower into I Know You Rider, Sugar Magnolia phenomenal as always as was Casey Jones. This just seems to be an easy show to sit back with.

Set 1: Bertha, Mexicali Blues, Deal, Big River, Don’t East Me In, Playing in the Band (maybe 30 mins of this set is not included)

Set 2: Promised Land, Peggy-O, Row Jimmy, Me and Bobby McGee, Big Railroad Blues, Truckin’>Nobody’s Fault But Mine>Eyes of the World, Brokedown Palace, China Cat Sunflower>I Know You Rider, Sugar Magnolia>Goin’ Down the Road Feeling Bad>Sugar Magnolia

Encore: Casey Jones


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 Post subject: Re: Grateful Dead
PostPosted: Thu July 23, 2020 3:02 pm 
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Of all their big jam numbers, I feel like "Playing in the Band" is the one that is most likely to devolve into spacey noodling that they have a hard time working their way back from. It's a bit like PJ's "Rearviewmirror" jam in that the improv section doesn't really seamlessly blend with the song itself, which is sunny and kind of dopey ("Playin," that is, not "RVM") -- it's more a separate musical concept that just kind of gets jammed in there, without much distinct musical groundwork. Sometimes it's great, but I'd say I have that "this is going on a bit long" feeling with "Playin'" quite often, where I rarely have it with "Dark Star" or "Eyes of the World," even when they go on longer...


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 Post subject: Re: Grateful Dead
PostPosted: Thu July 23, 2020 3:08 pm 
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Most of the Playing in the Bands so far have been excellent. This was the first that just kind of lost itself. Sometimes I get antsy with Dark Star even if I am enjoying it, but never with Eyes of the World - whatever Phil is doing on that one keeps me glued to the song for the duration.


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 Post subject: Re: Grateful Dead
PostPosted: Thu July 23, 2020 4:22 pm 
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I've garnered an appreciation for the shorter, springy-er, early Playins of 71.

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 Post subject: Re: Grateful Dead
PostPosted: Thu July 23, 2020 5:50 pm 
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super nintendo chalmers wrote:
I've garnered an appreciation for the shorter, springy-er, early Playins of 71.

What I will note specifically about this song in this journey is it went from shorter and springier around then, but when they first started expanding it, the interplay in the jam tilted towards a bluesy but fast paced interaction that was probably its best spot. It’s at this point hitting into noodling territory once they cross into the 20+ minute versions and getting less focused - as noted in the last couple of posts. It’s that middle period that are my favorites, especially on the shows where I highlighted it.


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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 12:50 am 
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Dick’s Picks Vol. 1 - Curtis Hixon Hall, Tampa, FL 12/19/73

This plays almost like a live compilation even though it was taken from a single show. Part of the reason for that is that it is a partial set, with the songs out of order at that. Basically every song though is a really good version of them playing that song, save for another long winded Playing in the Band. Jam 1 is a much better example of noodling to near perfection as it segues into The Other One. Another epic Truckin’>Nobody’s Fault But Mine. Another perfectly placed Stella Blue (the first time I heard this song I found it unremarkable but it’s now where they play it in the set that it just knocks you over and has converted me into a huge fan). Here Comes Sunshine was really good here also, extended out nicely without ever losing focus. Great Mississippi Half-Step, and great Weather Report Suite. He’s Gone I thought started good and raised up in the last quarter of the song to epic. Nice selections here for sure.

Selections set 1: Here Comes Sunshine, Big River, Mississippi Half-Step Uptown Toodleloo, Weather Report Suite, Big Railroad Blues, Playing in the Band

Selections set 2: He’s Gone, Truckin’>Nobody’s Fault But Mine>Jam 1>The Other One> Jam 2>Stella Blue, Around and Around


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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 1:33 pm 
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liebzz wrote:
Dick’s Picks Vol. 1 - Curtis Hixon Hall, Tampa, FL 12/19/73

This plays almost like a live compilation even though it was taken from a single show. Part of the reason for that is that it is a partial set, with the songs out of order at that. Basically every song though is a really good version of them playing that song, save for another long winded Playing in the Band. Jam 1 is a much better example of noodling to near perfection as it segues into The Other One. Another epic Truckin’>Nobody’s Fault But Mine. Another perfectly placed Stella Blue (the first time I heard this song I found it unremarkable but it’s now where they play it in the set that it just knocks you over and has converted me into a huge fan). Here Comes Sunshine was really good here also, extended out nicely without ever losing focus. Great Mississippi Half-Step, and great Weather Report Suite. He’s Gone I thought started good and raised up in the last quarter of the song to epic. Nice selections here for sure.

Selections set 1: Here Comes Sunshine, Big River, Mississippi Half-Step Uptown Toodleloo, Weather Report Suite, Big Railroad Blues, Playing in the Band

Selections set 2: He’s Gone, Truckin’>Nobody’s Fault But Mine>Jam 1>The Other One> Jam 2>Stella Blue, Around and Around


https://archive.org/details/gd73-12-19. ... -73t04.shn

Here is the rest of that set if you were curious. Its got one of my favorite versions of Dire Wolf.

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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 2:27 pm 
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I will have to check that out at some point. Based on the volume of ‘73 music i took in, I am ready to move on to 1974.


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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 2:31 pm 
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Dick's Picks 12! The "Weather Report Suite" and subsequent improv on that set may be the Dead's single greatest achievement.


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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 3:15 pm 
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I JUST HIT ON A RAFFLE FOR THE DEAD DUNKS!

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How are Pearl Jam any different from Toto?


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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 4:38 pm 
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Kevin Davis wrote:
Dick's Picks 12! The "Weather Report Suite" and subsequent improv on that set may be the Dead's single greatest achievement.


On the list.


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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 4:56 pm 
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liebzz wrote:
Kevin Davis wrote:
Dick's Picks 12! The "Weather Report Suite" and subsequent improv on that set may be the Dead's single greatest achievement.


On the list.


I'm not the biggest 74 dude, and I know i saw this a lot, but 12 is CRUCIAL.

If we're looking for 74 shows, first one that comes to my mind is 9/11/74

09-11-74 - Grateful Dead at the Alexandra Palace, London, England - During Set II, Ned plays on "Ned and Phil" > "Space" > jam > "Space" > "Eyes of the World" > "Stronger Than Dirt" > "Space" > "Wharf Rat". Ned plays a Fender Rhodes 88 electric piano and trades intro leads with Jerry. Jerry was very happy, laughing at the end of the sequence, and gave Ned his guitar pick.

Below is transcript of an interview with Ned Lagin who did some WILD noise experiments with Phil in 74 and frequently sat in with the band.

Quote:
G: Shall we go to Alexandra Palace?

NL: Would you like me to tell you a little bit about it?

DG: I would indeed, because you have described this to me as a peak experience, in many ways.

NL: Yes. We went to Europe – the Grateful Dead family and the band – went to Europe. And this was just after the tour that we had done – that I had done with Phil and the Grateful Dead – where there were a number of marvelous sets. Some of them just Phil and Ned sets between Grateful Dead sets, and some of them blending Grateful Dead and Phil and Ned sets. And so we got to London, and there were three nights scheduled at Alexandra Palace. And Phil and I were supposed to do our sets in the middle of the Grateful Dead sets, or coterminous with the Grateful Dead sets.

And the first night the Grateful Dead played for a very short period of time, starting late and ending early, because there wasn’t the right power equipment. And it was really a very frustrating experience for the band and the family and the promoter and the audience. And I’m not sure, again, having looked at the Compendium, the length that’s there appears to be longer than I remember. Because I remember only 45 or 50 minutes, or maybe an hour and 10 minutes at most. And my memory is usually very bad on some things, but very good on others. This is one of the things it’s a little better on.

And the second night was the same way – a little longer but, again, the frustration of poor equipment and poor coordination. And on the third day, there was a band meeting that afternoon where we promised each other a whole bunch of things. And moved our spirits, I’d like to say back in time to a little bit earlier in the 70s than where we were chronologically.

And that night turned out to be an exceedingly high night. Some of the people from Pink Floyd were there to hear what we were doing with computers and electronics, and to hear the Grateful Dead. Some people from Apple Records – the Beatle record label… and we came out and all of us just, I think, just played phenomenally.

Phil and I did an interesting “Seastones” set (which you’re not gonna hear tonight). And Phil and Bobby and eventually Billy joined us. And you’re gonna hear now when we pick up, when we go into “Eyes of the World.”

I want to add a little bit more about jazz playing and horn lines and lead lines, because Jerry, I think, was influenced by a lot of jazz and horn players. And horn players were influenced, in turn, by a lot of vocalists. So you hear a lot of declamatory lyricism in Jerry’s lines. And, as I said, I was very lucky and fortunate to have met and/or played with a lot of people who influenced me. And Jerry was one of them. And this night I was given the opportunity to actually play lead several times, including in the beginning of “Eyes of the World” on electric piano. Which was just astounding, and I’ll never forget the wide-eyed wonder of the people in the front rows as they were hearing this.

As you’ll hear, again we talked about laughter in the birthday tape; well, at the end of this long sequence which is “Eyes of the World” into electronic jam playing, and out into “Wharf Rat,” I’m left at the end – I was set up right behind Jerry and we played very closely that evening – I’m left again with the great gift of hearing Jerry – and I hope it’s audible on the tape that you’re gonna play tonight – of Jerry just laughing, not a laugh but a prolonged loud belly laugh of how happy that evening and that moment was.

I’m also left with… he handed me the guitar pick – he set it down on my electric piano – that he played that night. It’s one of the few things that I kept from that experience.

I should talk a little bit more about sequences. There were sequences that everybody felt comfortable, one tune going into another, and if you follow the Grateful Dead or the tapes of the Grateful Dead you’ve seen that. Well, very often you’ll hear, in the Winterland concerts that I played on, or Berkeley Community Theater, where we go from “Dark Star”… one of the tunes that I feel very emotionally strong about, and it comes back in a sense in that homeless shelter, a story I told you about a few minutes ago, is “Wharf Rat.” “Wharf Rat” is a very, very powerful tune to me. And so, like my birthday tape that we just played, I felt very fortunate to once again contribute to playing a beautiful “Wharf Rat.”

Also, “Eyes of the World” is another one of those tunes that I really love to play. It reminded me of my days in Greenwich Village again, listening to the first Bossa Nova Stan Getz gigs that he played with Astrid Gilberto. To somebody that may be a reach, but there was always that Bossa Nova light, rhythmic feel to “Eyes of the World,” which I really love.

So here, again, I was very fortunate to get an opportunity to play and, in some sense, lead, in “Eyes of the World,” and lead into “Wharf Rat,” and play all the way through. And I hope everybody enjoys this; I’m not sure that this has been played very widely.

DG: I played it actually on this radio show sometime in the last couple of years.

NL: Really!

DG: I know – it was right after the time some other parts of this concert were released in a Dick’s Picks record in the last couple of years, and I played a bunch of the rest of it… sort of the outtakes.

NL: Great.

DG: So, it’s nice to be able to play it again, and to have some of the background on the story. Fasten your seatbelts, kids, you’re in for a treat.

NL: Play this one loud, too, if you’re at home and listening. Play it loud.

[Eyes of the World-> jam-> Wharf Rat 9/11/74 Alexandra Palace, London]
DG: Well that’s quite a maniacal giggle you got outta Jerry at the end of that jam, Ned!

NL: There was sort of a belly laugh, I remember it pretty clearly.

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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 5:36 pm 
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I think the sound on a lot of the '74 shows is a little off -- that Wall of Sound setup seemed like it was a constant trial and error experiment, and some tapes capture it better than others. The recently released Dave's Picks (6/23/74) is a great show with a really nice mix, but probably not available on streaming services.


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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 7:49 pm 
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Kevin Davis wrote:
I think the sound on a lot of the '74 shows is a little off -- that Wall of Sound setup seemed like it was a constant trial and error experiment, and some tapes capture it better than others. The recently released Dave's Picks (6/23/74) is a great show with a really nice mix, but probably not available on streaming services.

That is correct. I am in the process of finishing up Dicks Picks Vol. 24 billed as the debut of the full Wall of Sound. Something about it in the recording comes across a little hollow sounding. But the performances themselves, once you acclimate yourself to that sound, are pretty good.


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 Post subject: Re: Grateful Dead
PostPosted: Fri July 24, 2020 8:24 pm 
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Dick’s Picks Vol. 24 - Cow Palace, Daly City, CA 3/23/74

This show is billed as the sort of debut of the full Wall of Sound setup, which I noted in recording here sounded a bit hollow, but I am sure it was good live other than the false start to Playing in the Band. The selections presented here from this show are pretty great too to bottom. It was nice to get some “new” songs in US Blues and Scarlet Begonias, plus a live version of Cassidy, which was a first for me. Deal was really good here too, but the show really seems to take off on a very excellent China Cat Sunflower>I Know You Rider. Weather Report Suite is again fantastic. The second set had a strong Wharf Rat, Bertha, and Sugar Magnolia, but the winner here for this show was taking Playing in the Band and sort of climbing the ladder segueing into Uncle John’s Band then into an absolutely epic Morning Dew, then back down into Uncle John’s Band and Playing in the Band. This sequence was just awesome and made this one.

Set 1 selections: US Blues, Promised Land, Brown-Eyed Woman, Black-Throated Wind, Scarlet Begonias, Beat It On Down the Line, Deal, Cassidy, China Cat Sunflower>I Know You Rider, Weather Report Suite

Set 2 selections: Playing in the Band>Uncle John’s Band>Morning Dew>Uncle John’s Band>Playing in the Band, Big River, Bertha, Wharf Rat>Sugar Magnolia


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 Post subject: Re: Grateful Dead
PostPosted: Sat July 25, 2020 12:20 pm 
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Completely unrelated to liebzz's journey (sorry liebzz), once I saw that the forthcoming Dave's Picks was from 1984 (this is my first year subscribing), I figured I'd nab something else from the early 1980's to either whet my appetite or put me off my lunch completely, as the post-Godchaux years are a hugely mixed bag for me and most of what I've dug into from that era has honestly left me either cold or actively irritated -- obnoxious keyboard sounds, bad Brent Mydland vocals/original songs, Jerry running out of breath and forgetting words, etc. So I poked around and ultimately settled on the Road Trips from 4/6/82 (the one with Ben Franklin on the cover), and damned if this isn't just about one of the best Dead sets I've ever heard! Gone are the twinkly toy keyboard sounds from 1979-81, the cheesy midi sounds are still a few years down the road, and both Garcia and Weir are absolutely locked in vocally -- for a guy that has a tendency to kind of wander off mic and slur lyrics, Garcia is absolutely attacking the vocals here, singing confidently and phrasing innovatively. No Mydland originals and his voice is low in the mix, where it is most effective. And the improvising is really top tier -- probably the best live "Shakedown Street" I've heard, a really nice "Lost Sailor" > "Saint of Circumstance," and lots of biting short solos in the first set. A lovely cover of Dylan's "It's All Over Now, Baby Blue" to close. Some bonus material from the previous night, a stellar "Bertha" > "Playin'" > "Ship of Fools" medley. A pleasant discovery!


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 Post subject: Re: Grateful Dead
PostPosted: Mon July 27, 2020 12:50 pm 
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I was really stoked to see Dave get into the 80s!

Anyone else watching the streams on Friday nights? Easily, one of my favorite parts of our Republic Burning.

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 Post subject: Re: Grateful Dead
PostPosted: Mon July 27, 2020 4:07 pm 
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Sad to say I am in a mild Dead vacation - mostly because I forgot to bring headphones on vacation. I’ll be back at it near full speed next week.


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 Post subject: Re: Grateful Dead
PostPosted: Thu July 30, 2020 9:50 pm 
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Got in a Dead album driving around a bit...

From the Mars Hotel - in the realm of album making, this is a somewhat disjointed effort. It appears to attempt to be a bridge or amalgam of all their sounds in the studio without reaching the sort of bountiful highs of a more consistent dedication that existed on prior albums. US Blues is always a song I have favored, and hits the Eyes of the World element of their sound. China Doll seems to reach for the psychedelia of Aomoxoa or Anthem of the Sun but doesn’t commit itself enough. Unbroken Chain as the ballad. Pride of Cucamonga the Americana. Money Money the sort of pop blues of their early work. Really the most successful moments are the Dead acting their loose and easy selves on US Blues, Loose Lucy, Scarlet Begonias, and Ship of Fools. Ultimately, this is an up and down affair, but the nuggets of greatness here are still the base of a band that could do anything. A little more focus and cohesion though would have done this album a lot of good. That said, I am looking forward to some live versions of these songs.


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