Some people don't pay much attention to Garcia (aka Compliments) because is constituted by covers and Jerry is focused more than anything on his singing and not doing much guitar playing. I think it's a hell of an album, Jerry's singing being one of the main reasons for loving it.
I believe that was not a guitar ever actually played by Jerry but was just present at the photo shoot that day so he picked it up
5:26: G# instead of G 5:28: completely missed note 5:34: Another G# instead of G The G#'s are likely a vestige of utilizing Lydian and/or Lydian b7 scales in extended jams over tunes in Major keys. Still; rips the soul out of Dew for me.
I don't think it's a badly played sequence. I had no issue with it for years, nor do I now. Ignorance is bliss for me as a not a musician guy.
I thought you looked familiar! You serious? Too coincidental for coincidence and very cool. Great shows....from what I remember.
Here's the Miller SBD: Grateful Dead Live at The Centrum on 1987-04-04 : Free Streaming : Internet Archive »
Interesting, he's also shown holding it in the liner note booklet. Helluva guitar to be just sitting around eh?
Hey Now! Starting the "prolific run" at '69 eh? Now, under duress you may be able to convince me to leave out the debut album from '67, I realize that folks don't always cotton to that one, although I do have a soft spot for that album, especially side two. However, don't you dare leave my beloved "Anthem Of The Sun" out of that prolific run! Just look at this track list: Side one 1. "That's It for the Other One" I. Cryptical Envelopment II. Quadlibet for Tenderfeet III. The Faster We Go, the Rounder We Get IV. We Leave the Castle 2. "New Potato Caboose" 3. "Born Cross-Eyed" Side two 4. "Alligator" 5. "Caution (Do Not Stop on Tracks)" One of my favorite "studio" albums and the first official release to the public of some of their greatest and most psychedelic and progressive jam platforms. An important album if only for the opening Other One suite methinks. And don't blame your omission on the blotter, we're wise to those old excuses.
I was going to say, there's little chance he actually played that on the recording. But I wanted to go back and listen for high notes. It's pretty tough to play above where the body meets the neck on those things.
I was wondering that myself, and need to pay closer attention. You'd think Jer wouldn't be hip to staged shots with guitars that he did not play but.......
Agreed. I picked up the RSD reissue on green vinyl and it's a really nice effort. Remastered by Joe Gastwirt with lacquers cut by Kevin Grey (he of Music Matters Jazz fame and previous partner to our host SH) and pressed at QRP with the original lyric sheet and raised graphics ala the original. Sounds great, looks great, feels great.
I listened to this version. A bit later Jerry is playing the solo where there is some question of whether to use a C or C# in the D scale. Jerry plays a lick including a C#, Bob plays a dominant seven chord with the C and Jerry plays another lick with C#. Sort of like Bob said "Jerry, I'm not sure about that scale you're using" and Jerry said "get lost, Weir."
The difference there is that C# is the leading tone to the root of the tonic, so you can get away with that (often). Morning Dew is in "D" but not all of the chords are in D, so it's a rock and roll thing. There is no single key. Since the basic structure of the song is | D | C | G |D | C | G | F | C | Em| D | anytime one plays a D, it's really functioning as a D7, whether or not it is voiced as such. The tune owes more to the key of G Major than it does to D Major, but that pesky F mucks that up. The most logical scales to use are G Major over the first six bars above, C Major for the next three, and then back to G Major. Neither a C# or a G# plays into that structure. Now I can see what Jerry might have been thinking during his solo with the use of the leading tone, but it's a bit disingenuous on his part, knowing that Weir would likely be utilizing a C natural. In any case, the part I originally mentioned (the fugue-like counterpoint with Phil) is basically a written part that is played wrong by Garcia. To wit, he corrects both G#s to G naturals by sliding down a fret.
that dozin garcia guitar history says that he played the Alvarez-Yairi on Garcia-Grisman. It also says this: "Jerry recorded "Blue Yodel # 9" using a mint condition 1939 Gibson Super 400N acoustic that seen in the video for the movie "Smoke". Its likely the last guitar Jerry ever graced... " looking into it, 1939 is when the cutaway option was first added, but that was called a 400P or C. I found a link to the 1940 model that references Garcia's guitar: Super 400N (Second Model) Guitars | Fretted Americana Inc. » I just looked again at your picture and I now think that is the 1939 super 400 N acoustic he is holding. It looks a lot like the 1940 I linked above.
I neglected to mention that the part I had in mind with that Garcia/Weir exchange was the ending solo over the repeated F-C-Em-D.
Thanks for the spell check! Part of the problem was the poor cut and paste job I did and that was complicated by limits on images. You point out a great album and flaw in my logic - I was thinking of a ten year run and kept trying to find the perfect 10 year interval to contain my choices. but I think we all get the point - it was a PROLIFIC run . LOL
I was travelling through Worcester that day and I remember there being hordes of Heads at the bus station. This was before I "got on the bus", so it seemed a bit curious to me.
It was indeed a great run, and if extended a bit I'd love to include "Reckoning", damn that's a great album of acoustic tunage. I don;t know how many times I watched "Dead Ahead" on VHS when it first came out. Not catching your "spell check" reference though.
