Yes she's great in it, another Mad Men surprise, and some other good performances. Maron had a good one for Neil, David Byrne, Paul Thomas Anderson, Todd Rundgren although some super fans were annoyed Maron wasn't fanboy enough. The Racer 5 "hit that spot" as I remember Pigpen saying on some tape somewhere.
The one that I've heard the most, from Dick's 4 (10/31/71), is pretty screechy. I don't remember which exactly, but a version from one of the Dave's picks I got last week WOULD be screechy but it sounded like he was on the verge of losing his voice and, where the usual screech part would be, his voice just kinda dropped out. Ok, so I also listened to a PITB yesterday, one from Dave's 13 (2/24/74), after all this Donna talk. I was literally L'ingOL at @bzfgt and @Matthew Tate 's descriptions. I'd say bzfgt's trancscription, "Yeeaahhharrgahjjjhhhggh", is pretty accurate. While I wasn't exactly thinking "that is some exemplary singing" or anything like that, I felt like it seemed appropriate and I imagine after listening to it over enough time I would probably come to miss t if it weren't there. As far as other Donna moments, my first real big exposure to her was when I got the Road Trips vol 4 no 5 a few weeks ago... her singing, and really everyone else's for that matter, is really quite good. Even the harmonizing on tunes, like High Time and Sugar Magnolia, that frequently have had me cringing in the past is really quite solid there. Apologies, not trying to resurrect the Donna dis-cussion from yesterday, but I didn't really have time to weigh in at the time. Naturally, after reading this, feel free to carry on about your day as if nothing happened.
On a different topic: The 2/24/74 Dark Star, pretty epic!!! Sounds like a heavily improvised one, although, I'm not super well versed in all the different variations of it so perhaps they are touching on different jams I'm not familiar with. Somewhere deep in to the jam when Jerry breaks in to his upper octave theme lick, Bob Weir is doing this thing that I found really cool. There were many other moments I found of interest, but I listened to it last night before going to sleep and this morning it all feels a bit like a fleeting dream.
Even Jerry at the minimum went on to say they rushed it, literally. I seem to remember him saying it was a missed opportunity, not terribly representative, and wasn't there some uppers use as well. The breakneck speed works great for some songs but on the whole that album will always be more a curio and I even like it. Clearly the needle swung completely the other way on the second album. On the best non-American Beauty and Workingman's first studio albums to try, I would either go with the first list or switch back and forth between the two lists: Anthem Wake Blues Aoxomoxoa Mars Terrapin Shakedown In The Dark
The studio albums are like looking at architectural drawings. Useful if you want accuracy although not always necessary; impressive to look at with a certain technical beauty to them; but once you've absorbed them they can start to make you crosseyed if you stare at them too long. And anyway, you'd rather watch the hustle of the construction process and live in the finished building, some of which may or may not get continuous maintenance depending on the budget and the neighborhood.
You can expect to be happy. There are two to two and a half shows I kind of like more than 7/8/78 now and that is saying a lot. They do sound better than 7/8 anyway for some reason. Same general tranfer/mastering process as GSTL so for the GD audiophile it is a keeper for sure.
Don't overlook the The Other One the night before. Short and to the point - it's jet propelled. It hangs together well enough but it does seem to be a bit of a shoddy research job - or a deliberate patchwork. We'll know soon enough if the two tracks at the end really are from 11 August.
I've seen the 7/8/78 set available as an individual release, I've been wondering if the other sets are available individually. I guess it'd make sense to just get the box though if one was going to get 2 or 3 of the shows. Earlier I listened to a snippet of Estimated Prophet from the 7/8/78, I was digging it.
The selection committee has not come up with 8 contenders yet. When that happens we will choose a venue, decorate it with banners, stock it with concessions and then open the doors.
I think like GSTL the only way to get the other shows is the box, physical or hi res download. I don't think the other shows in the box, as released of course, are available via streaming.
Thanks, I was just researching this and found that to be the case. Nope, at least not on Apple Music. My poor wallet, the parts of 7/8/78 sounded great.
I streamed, via Apple Music, a good chunk of Estimated > Other One from the 7/8/78 Red Rocks show, they really seemed to be in the zone. Judging by the recent comments regarding the quality of the other shows in the box relative to the 7/8, I guess I'll have to go for the box too before it sells out.
On my second play-through of the 4/23/84 UJB - 17 min long! Glorious. I love how it seems like it's going to end with the return of the "Oh, Oh, I want to know" -- and then it goes for another 4 min.
11/8/69 Dick's Picks 16 Fascinating to hear the first set - struggles and all Schoolgirl has a hard time getting cranked up. They play Dire Wolf forever Easy Wind - rough but they finally peak China Cat>Rider - I love hearing them start to turn this into the classic it would become a couple of years later. High Time - Jerry Kills it. Stunning. Even when his voice cracks it is great. Genius at play. Of course set 2 is all-time.
That's what I did (mine will hopefully be here Monday). Given the price of everything on the secondary market, I'd jump on anything limited release that all all interests you.
I'm getting overloaded! Bouncing around with all the different suggestions plus what I have picked up on my own! However I love it!
Listening to the 4/12/78 "Row Jimmy" now. I am sure I have heard it before. But it's been too long. Lovely.
Got in the car and turned on the XM station just in time for the 3/19/77 Eyes of the World, which is my favorite Eyes not performed in 1973 or 4. Jerry is pretty much on a different plane of existence during the solos. It's absurd.
I know I was kind of teasing you. I had to check the '78 College Tourney thread, but Duke 4/12/78 lost in the second round to the eventual Champion. One thing you might want to consider as an exercise, something I know I had to learn over time, is that you cannot look at any one section of a show and think it applies to the rest. The first four songs of this night are a good example. There were far too many times where things are just off or shaky, and then somewhere else they pull something out of a hat of perfection and genius. Not all times of course, some nights are bad and stay bad, but I find far fewer of them than not obviously. Also many times, Jerry more than anyone maybe, will like a good jazzman play against form, poke around, be a bit slow, maybe fast, turn things inside out, simply not play it straight either to see how everyone else on stage will react or to keep himself fresh maybe; but it is something that on the one hand will have some saying man this is sloppy or at least not by the numbers so I don't like it; then Jerry through that process opens a fresh door into a refreshing view of new improvisation. 4/12/78 had a dose of that reminder for me where those first three songs are pretty shaky, and maybe one would write it off that this will be a bad night, then that Peggy-O just puts it all right, this is what I thought about it tourney time, "The big takeaway was the difference in the crowd before and after that great Peggy-O. Of course the show starts off rough with vocal drop-outs in the first two songs, frankly I am surprised they didn't stop Dire Wolf fix things and start over. So after the BIODTL, the crowd is pretty restless, perhaps a bad vibe or a panic that this might be a bummer night, there is a long tuning or equipment-fix silence, and some in the audience seem to be losing their snot just a bit; then Jerry just sits everyone on their butts with that Peggy-O and afterwards everyone is dialed in happy and calm as Hindu cows. Things just take off from there, but what showmanship and you can clearly see it in that before and after aural photograph." I always hear it in the reviews of someone like @warewolf95 who listens to full show after full show, he finds spots that are not that thrilling then later on BAM - W A R E W O L F HOUR! How does he make those letters so big! All this '78 talk has me heading to the July Box I think. I have some Bobby Charles to listen to first, this CD is sounding a lot quieter than the not too bad Rhino remaster of it Bobby Charles - Bobby Charles , so I look forward to fully checking that out, then GoGD if you please.
