My favorite album of last year. Of course, Cinnamon and Lesbians also has a little musical homage to St. Stephen and the video (which is hilarious, by the way), features dancing bears and a little tribute to the Europe '72 ice cream cone kid. Malkus & the Jicks are hit and miss live, but their last show at Slim's touring that album was excellent.
The majority have not listed 73-12-06 in their top 10 Dark stars. I was right then One dark star that would be on my list that I don't think anyone had is 70-09-19
22 May 1977: set II kicks off with Help > Slipknot! > Frank's; and then OMG! @ the 11 minutes mark (or so) of Franklin's Tower Keith starts playing the lead riff of Foolish Heart. Holy cow, that stopped me cold in my tracks!
Still shuffling away the day, landed on the Space -> Wheel segment from 11/30/80, DaP 8. Really an outstanding version of the Wheel, and I love the segue so much I joined the tracks when I ripped them (not something I usually do for Space).
This reminds me of when iTunes debuted gapless playback, and I felt the need to re-rip as separate all the Dead and Phish tracks I had joined so that there would be no gaps during jams. Finished Garcia & Grisman 2/3/91 Warfield last night, gonna get back into 12/6/1973 Miller when I get home. 43 minute Dark Star? Good thing it's Friday before a long weekend.
Lit up, had some beer and whiskey and pushed play on The Weir documentary. Thanks Bobby! I really enjoyed it. Great acoustic live stuff man. Keep it going dude
19 September '70 is a huge show and the matrix out there is one of the most enjoyable "you are there" tapes I have heard. I give the now to the Star from two nights earlier though. Not a very good tape but the Star may be one of the year's best.
I have never heard 9/17/70. The back half of '70 is generally a big blind spot for me, as I usually vastly prefer soundboards and there are so few for the era. They were playing so well and uniquely from show to show back then, that I really need to explore more of those auds. I broke the ice by listening to 6/24/70 a couple weeks ago, should make a point to do more soon. I have also come around a bit on early to mid-80s audience recordings, due to the mix problems with a lot of the soundboards from that era. Of course, the average audience recording from the 80s is better than from '70 due to advances in both recording equipment and the sound system used by the band... but the rougher ride of a '70 audience I'm sure is worth it for what was happening musically. Just a shame that no one was taping for the band with Owsley in the hoosegow.
I also hit a few aud tapes from time to time but since there so much good SDBs out there it stays in the shadows. I know there are great versions of songs from a certain show but I think that hearing the band loud and clear really makes the difference.
Alright baby, waiting for Billy to lay down the drums - and there it goes - one of the best things they're ever is done is upon you 73-11-11
Just got through the following segment from Salt Palace 2/28/73: Truckin'--> The Other One (including a ping pong jam in 5 from 4:45-6:00)--> Eyes of the World--> Morning Dew Jerry plays some mean scrubs to round out the Dew.
Just watched the Weir doc on Netflix-very enjoyable, some great footage in it...check it out if you have the chance.
Apologies in advance this will take up a little too much thread bandwidth I fear. I just recently acquired DiP 7, I always shied away from it as the samples never impressed me too much; I think ’73 and ‘74s just don’t come across very well in samples and the full product usually over delivers. I love ’74 and I guess there is only the movie soundtrack that is multi-track right; the year has some hit or miss mixes for sure. I am not ready to call DiP 7 a sonic marvel; I spent the morning poking around the 1st disc and it has some problems, but this afternoon I listened to disc 3 and on top of the great music it showed me a really unique thing for a ’74 official release. Speaking for that disc 3 anyway, more than any other ’74 release I have heard, it best displayed in an aural manner what it must have been like sitting in the audience. First, most ’74 mixes in my opinions are like beasts that Candelario usually barely contains—no knock on his considerable talents. They are usually much different in March than later in the year. Well this disc is very different in that no matter how beastly the playing, it was always plays in your listening room very contained, very underneath you at least where I sit in front of my floorstanders. It is like the Wall of Sound was contained in a diorama that fits on your shelf. All the instrument separation that the WOS could generate through its separate amping and speaker stacks shows up, but gets laid down on tape in a very cohesive way just barely hinting that these are really separate PAs just stacked next to each other. Other 74’s seem to not show this as much or to me it washes over you, you never look down upon it all like here. The whole time I was picturing tilt/shift photography of the whole thing. First Jerry is just so free and clear on listeners left. I don’t remember a release where he is so much not part of the mix with other instruments, the clarity of his playing is enhanced of course by the WOS design and it is maintained in this mix-- you may never hear Jerry in an isolation track as much as here. More than any other instrument Jerry reigns the full vertical, so ground to about 5 ft in relation to my 3 ft floorstanders Next the vocals are so centered, and each voice goes through you guessed it a center cluster, hanging mostly dead center and 4-5 ft high range in my room. The Drums are just under that, floor to 5ft. Next Phil is everywhere except listener left where Jerry is; Phil lives within the vocals and Drums. Keith has pretty much the far listeners right, but it is a pocket, mostly 2-3 ft. high, but he can work his way out to the right where no one else can. Bobby finds an even smaller pocket between Keith and where Phil starts on your right but he bleeds into the drums bottom center at times. I listened for Phil if I could pick up his each string per his stacks; it might not show up so great on a 2-track but in Dark Star he does spread out and my guess is you heard that effect big time in the room. What is all of this descriptor worth, well it had been a while since I looked at it, but damn if this disc did not sound exactly like the WOS was drawn up. I know most people here know this rig better than I do and I am sure I can be corrected here so have at it; but if anyone has not read up on the WOS you can get a feel for how it was all separated from the ground up and put back together, fully mixable by the band as well as FOH all described pretty damn well here. Again I don’t think the true effect of all this shows up on a tape as well as DiP 7 disc 3. The clarity of each instrument shows up here like it was always advertised the WOS could do in the room. In the end for a official release, you might feel, hey this DiP 7 is pretty small sounding relative to other discs, not filling up my room; but if so just shift your thinking a shade towards WOS diorama. Now, or by ‘90s Dead, everything gets run through full-range speaker arrays mostly everywhere all at the same time; the WOS really was about each instrument playing purely on its own next to its peers. It must have blown some minds in ’74; the cool thing is we have some folks in this thread that can attest.
