The movie is a great summation of the GD scene at that point (or at least as I imagine it to have been, as it was a bit over a decade before my time in the scene). The bonus material on the Blu-Ray and DVD is terrific, but also don't overlook the "Grateful Dead Movie Soundtrack", which is 5 CDs from the 5-show run at Winterland that was filmed for the movie, and contains much, much more music. It would have been even better had they released the complete run of 5 shows, but the 5-CD does hit most, but not all, of the high points. It's also worth seeking out 10/18/74 on the archives to hear the Seastones->Dark Star->Morning Dew as it actually occurred. Seastones is not on the Soundtrack CDs or in the movie, and although the Dew made the movie, only relatively small portions of the Dark Star made it. Anyway, an all time classic set.
Now this is funny! Because it is true. Rne: you told me earlier that Jerry used that Alligator Stratocaster on these recordings but all the pictures in the booklet shows him with some sort of custom guitar which from what I can tell is the one called the Wolf. Did they mess up when making the book? That would be badder than pitching issues Best regards, HTRL
Thank you. I've been trying to locate that one but I haven't really had too much time off to do so. What little time without the kids and some home office work have been spent on the box these last days. Apropos that: after hearing the second 1974 show on the box set it suddenly made so much more sense that newer looser style. So the movie will be greatly appreciated I predict. Another Minuteman fan? How cool. Best regards, HTRL
He had the Alligator Strat for the June '73 shows, but the Doug Irwin custom Wolf guitar for the May '74 run. All the photos in the booklet come from '74, which is too bad because '73 with its proto-but-not-quite-Wall-of-Sound deserves some photographic love as well. Not a mess up, so much as a skewed incomplete picture. Anyway, personally, '73 is probably my favorite GD year, although it's hard to pick a favorite when '68-'74 and '77 are all in the running (and '78 and some other years are also pretty great, around here, but not in most parts, some people prefer '78 to '77, but I ain't one of them, although '78 has risen in my estimation over the years). Anyway, I'm rambling. It's perhaps slightly ironic that I'm singing the praises so much while listening to Portland 6/24/73, which so far is one of the less inspired (but yet still quite solid) shows I've heard from the year. I'm still on Disc 2 and haven't heard the Dark Star yet, though, so I'm sure the best is yet to come from this night.
Garcia played his Alligator starting in Summer of 71 until September 1 of 73. (There were exceptions, especially in summer of 71, summer of 72 and possibly early 73.) But for all of 74 he played the Wolf.
Yes, despite the bashing of punk rock in one of the GD threads many of us find lots to like in both worlds, and in many other worlds, too. I was just at a Dean Ween concert and Ween and Ween-related shows are always fun, because the crowds tend to me the mix of the weirdest and hardest partying folks from both the punk and hippie scenes. Always a good rockin' time.
"LL" is preferably to "MM" in every aspect. Agree on the former being far less ugly and of course Jerry singing it makes it more human. Still think that it sticks out like a sore thumb among the great Garcia/Hunter compositions of this period. It is lyrically very cliched and dumb but perhaps fun enough. The version on the second '74 show was actually pretty good musically. "Money Money" is on the other hand without any redeeming qualities IMO and when I detected that they would play those two in a row at show five I almost hit the skip button. Didn't do it because I like to hear whole shows as such. Back to more positive matters: the Portland show made me really appreciate 1974 so much more than the first one. The playing is better and the sound issues/vocal drop outs doesn't dampen the joy of hearing it. It is what it is and. The jam after "Truckin'" on disc three is perhaps the wildest thing I have ever heard them do this far. Just magically cohesive and tight. Made me REALLY look farward to the 47 minute "Playing in the Band" all the more and that one is coming up in about an hour. These "Scarlet Magnolias" are really something too. Just hit the one on the Seattle '74 show and what a groove those guys laid down! Keith on electic piano was somewhat unexpected but very funky. Best regards, HTRL
Thank you, evil one. These matters are of course as clear cut and easy to follow as anything other Dead related. This band is such a tease! Is there a page where i can follow there equipment chronology you would recommend? Always loved to know what instruments were used on what records and gigs. Best regards, HTRL
Haven't read thise posts but it is a bit sad if people who love music at least cannot find some redeeming factors in such a varied genre. All scenes are a mix between organical and constructed anyway and one must take the good with the bad. Or rather separate them according to personal taste. It would be very strange for me if a person liked the GD and didn't at least hear that something like Television, the Meat Puppets and the psychedelic dread of the Dead Kennedys at least in some way were very influenced by similar things. Their choice and perhaps loss but still. Me and bro used to be heavily into the SF, LA and texan hardcore scenes in the late '80 after metal wasn't 'strong' enough for us anymore. Talking about gateway drug. And I remember Greg Ginn saying that he loved the Dead. That was pretty much a seal of approval for a kid looking for something different. It didn't really prepare me for American Beauty I must say But grew to love that, the debut and Aoxomoxoa. To bad I've wasted so much time after 2004-ish being too busy for the Dead. Still such is life and the war. Best regards, HTRL Edit: we particularily loved the SST bands because they sounded less uniform and open to other musical ideas. Well, those and the Replacements. Bob Stinson could also play a mean psychedelic speed metal rock'n'roll solo at the drop of a tutu.
What the Hell did I listen to? First thought: didn't sound anything like the jam from 5/19/74. Second thought: doesn't matter. Those 47 minutes actually flew by and even if it was just about as loose in certain parts as I feared they pulled together. The mellower and most jazzy part from 35:30-ish when Keith's piano joins the fun is beautiful beyond words really. When Phil starts chugging out the main riffs rythm approx five minutes later and everything builds and builds in intensity! Then it almost dies down again before the whole thing reaches a sudden explosive finale. They all sound as relieved as me that there is finally some order in the universe again. There goes my brain. But the final cd will have to wait because this was very challenging. Will have to lie down till the twins come home from school in a couple of hours I think. Still. Now you/they/I've done it. Just hope I don't have to start wearing bellbottoms and burn incense any time soon. Best (and certainly most confused) regards, HTRL. P.S. Doesn't Keith sound more than a bit like Keith Jarrett here in the percussive but still melodical way that he's hammering the keys?
6/26/73's El Paso..Is that a sneeze, or is Weir making a whipping sound when he's trying to stay in the saddle at 3:20. I don't think I have ever heard that before.
Looking to revist that EPIC "Playing" sometime this weekend. With my new Rotel RCD-1072 that just came in today!
Listened to the first trifecta. Wanted to start the next tour but sidetracked with a disc of philly 72 and previous to that the nine twenty ninety sequence. I dont know how it happened but i am ungrateful now
1/4" Most likely 2-track though, which means the full tape is recorded in one direction only. There's no "side 1/side 2" like on a cassette, which is recorded 4-track.
Haven't posted lately as I've just been immersed in this incredible collection of music. I know it will take a lot more time to fully digest these 6 shows, but I feel like I've acquainted myself pretty well with each of them to give my impressions as a relative newbie to '73 and '74 GOGD (though I've got Dick's Picks 12). If anyone cares, here goes: Overall, I love the balance of variety and consistency between the shows. While the 3 '73 shows and 3 '74 shows may have setlist and stylistic similarities, there is a distinct character to each of these shows that imbues them with something unique to offer the listener, revealing a slightly different side of the Dead. That said, I love getting multiple stellar versions of Greatest Story Ever Told, China ->Rider, Eyes of the World, Playing in the Band, He's Gone, Brown Eyed Women, Bertha, Sugaree, and even Row Jimmy and Bobby's cowboy tunes. There are also plenty of one off gems scattered throughout like the Bird Song and Dark Star, Black Peter (2x), Here Comes Sunshine (2x), Peggy O, Nobody's Fault But Mine (2x), Ship of Fools (2x), Weather Report Suite (2x), Ramble on Rose. While each show has something different to offer, the two clear standouts to me are Vancouver '73 and Portland '74. I would say these concerts include many of my (now) favourite versions of the aforementioned songs. There was just something special in the air for these shows, and the band's level of improvisational fluidity, tightness and willingness to take risks makes this some of the most exciting Dead I've heard. To have these two complete shows in such stunning quality is well worth the cost of the set. I do find the quality to be excellent (as someone who listens to 78s); the limitations of the original tape and mix are obvious at times, but the soundstage is often exquisite as each instrument hangs clearly discernible in the air. There is space in this music, and it's probably the clearest mix I've heard thanks to the separation of instruments on the soundstage. Listen on a great system or set of headphones and you can see this music thanks to how dimensional the mix and mastering are. Despite the clear distinction between the instruments, they cohere beautifully and perfectly reveal the interplay of each musician with each other. It's also nice to hear the audience, which can be lacking in other releases. If Vancouver '73 and Portland '74 are the real gems of the set, there's plenty to love in each of the other shows: Portland '73 has a very solid setlist and consistent playing, but the kismet of Vancouver isn't always there. However, there are many stellar moments throughout including a smoking GSET, China->Rider, and the closing Dark Star->Eyes->China Doll (plus a solid Sugar Magnolia). Sound is perhaps more consistent than Vancouver and Portland for what that's worth. Seattle '73 is a weird and wonderful show, but as has been mentioned Jerry seems to be sleeping through some parts. In reality he seems to be hiding in the music rather than playing out front all the time. Some of the mellow mood of Vancouver returns here, and both of these things make for a very interesting experience and some prettty unique versions of songs like Brown Eyed Women. Have to listen through this one more carefully, it seems rich with possibility. Vancouver '74 brings interesting changes in setlist and sound. A woman in the audience LOSES HER ****ING MIND at the opening notes of Ramble on Rose, some indication of band/audience interplay and the intensity of this show. This is a great first set, and an all-time great China->Rider. The entire last disc is pretty much faultless other than the hysterical goofs by Weir in Truckin'. Very solid stuff. Seattle '74 has a character unlike any of the other shows here thanks to the setlist and the band's approach to playing it. Of course the long Playing in the Band is a world unto itself, but there is a character to the setlist and the playing throughout that makes this show feel special and extra cohesive. The band just seems to be in jovial spirits, and the good feeling comes through their music. Love the end of this show as well, especially the Eyes ->Wharf Rat. My third favourite show in the set. I've written a lot, but there really aren't enough superlatives for this music. I absolutely love all the new additions like Here Comes Sunshine, Row Jimmy, The Race Is On, Nobody's Fault But Mine, Ship of Fools, It Must Have Been the Roses, They Love Each Other and Weather Report Suite. The Dead's unique blend of influences and approaches make for constantly engaging music, as they somehow move seamlessly between space jazz, funk and cowboy and country songs on an improvisational high-wire. It's a miraculous thing to listen to; the Grateful Dead gradually unfolding themselves before your very ears to make the six uniquely multi-faceted gems in this box. Not sure if there was more hyperbole in that than one of Dave's chats, but I stand by every word of it and absolutely love this box and the sound of this era of the Dead.
How much you wanna bet her name was Rose? Lols. Great read. Awesome observations. There is no substitute for having the Real McCoy media, a killer stereo with a 3D soundstage & sub to fully appreciate what Dave and Co. have made for us to enjoy and relisten and rediscover for years to come. This thing was built to last. And it will.
After one full listen to the six shows, I'd say that my favorite is a toss-up between Vancouver '73 and Seattle '74 with Portland '74 right there with them. The other three shows are average for the era, but have plenty of highlights especially during the second sets.
Ohhh. I'm nowhere near ranking them realistically, objectively or subjectively. But i can def tell the CDs of these shows will give the gifts that keep on giving!
Sorry. I've misled you all. Of course I listened to the rest of the show after thinking about it for something like five minutes. Played thru some highlights after the kids fell asleep incl the whole "Dark Star" sequence and that incredible jam after "truckin'"on 5/19/74. So good that it got played twice, once sans "Truckin'". Will now play the whole box again from the start since the little monsters got picked up for a weekend at their mum's. Currently on "Bird Song" 6/22/1973. Will also fit in the bluray of the Grateful Dead Movie. Life is not so bad all things considered. Best regards, HTRL
Pretty sure that I agree with notes here at least at the moment. But the other shows all seem great and if these are just 'average' Also know that sometimes the biggest favorites reveal themselves over time. Best money I've spent whole year and it has been a very costly one on every account. Best regards, HTRL
'73 departs from '72. '74 mixes them back together. Variety is where you (care to) find it. Personally, I don't really love all that much "rock" or popular music; however you want to define it. I could easily pick fewer than 10 bands or artists in that genre to live with forever (or as long as I've got) to the exclusion of all others. There's really nothing at all sad about that. I'd rather go elsewhere; Stravinsky provoked a riot in Paris, 1913 with Le Sacre du Printemps and Dylan sparred with his audience as he changed the shape of popular music in 1965/1966. Coltrane, Monk and Mingus describe themselves without further embellishment. The second Viennese school demonstrated that tonality isn't necessary... I renewed my driver's license yesterday and as I was signing the form, I almost dated it 9/21/72.
