I’m not as down on Bob as a few of you seem to be, granted I’m new to this Deadhead scene, but you’re right, in some of those Estimated Prophet’s he just YELPs!
Re "Estimated" the screams are less of an issue for me than that in some 90's versions I've heard Weir seems to have forgotten the verse melody.
I've been taking another trip to the PNW 73-74 this week. First of all, this box continues to reveal such great pleasures to me. Maybe it's because I just knew these shows much less well than some of the previous boxes (6.22.73, I thought I knew well, and I sorta knew 6.26.73, and Portland and Seattle 74 somewhat [knew the Jam and the "Playing" respectively]; but clearly I didn't really know 'em after listening deeply to the set). Even having the box on my shelf continues to delight (I keep moving it to a more prominent position on the box sets I "showcase" on my music wall). And it just sounds so great! However, the real reason I'm posting again on this thread is Vancouver 73. This show is a beast with highlights popping-up all over and on such a steady basis. The show never goes very long without something just spectacular or thoroughly engaging going on and demanding deep listening (and this is no slight on those moments in-between these "big" moments I'm thinking of). First we get the "Bird Song" on the first disc, which is a wonderful version with great interplay. Then we have the "China>Rider" that is just sensational. Quickly after that is a fantastic "Playing" that goes on for 17 minutes plus. And then right after and the set break is that great "HCS" (not to mention the "Big River" is so good). They don't go crazy on the "HCS" like some other great versions, but it has this wonderful persistence that's hard to let go of. Then there's that "Black Peter" which as has been mentioned and I agree, just might be one of the three best versions I've heard (though today in my car I thought it was the best I've heard). Great vocals on the "He's Gone". And this is all before the big Jam--which is a big big bass solo plus craziness Jam. And even on that last disc is a pretty terrific with a long ending "Casey Jones". And again, even the individual other selections have so much to offer. 73 is my second favorite year, and I'm not quite sure that this is my favorite show of the year (can't quite go there yet or maybe ever), but it's as consistently great (and in so many moments just spectacular) as any they played this monumental year. And I'm not moving on to Portland 73 next--need a little more time with this tremendous show still.
Yes. 6/22/73 is a show of shows for me I think most of all because of the sense of the players being so in tune with what they were doing. The chemistry jumps right out at you. Like an entire night of Live Dead's Dark Star. In that sense, it's one of the most important recordings we have of this or any rock and roll band. Then again, I am prone to hyperbole.
If it happens to be one of the most important Dead recordings, it's also one of the most important recording by any rock band. Not hyperbole, just pure logic I think I have said it too many times in this thread already, but 6/22 was indeed a special night for the band.
Disc 1 baby and proceed in an orderly fashion from there! As we are all recently reiterating 6/22/73 has the goods, it is my favorite as well, and yet is a great base from which to explore other great, sometimes not quite as great but still all in all pretty great even when it misses the mark in several unique ways elsewhere throughout the box.
I'm not complaining, but sometimes I don't get the criteria used to decide when a piece of improvisation is a standalone "jam", and when it belongs to the song it comes from. I suspect those improvisations labelled "Jam" are the ones Dave consider the best. In the seaside chats, he raves about the "Jam" from 5/19/74 (which comes from "Truckin'"). I think the "unlabelled" one from 6/22/73 is better.
Kinda hidden undervalued gem is the “short” 15+ minute Playing from 6/26/73 show. Phil Lesh Lordy Lordy
Just got a vision of Santa's elves banging away in the workshop to the '74 Seattle "Playin' in the Band"
Listened again today to the 6.22.73 Vancouver big jam. They are just so inspired and inspiring in so many different ways and approaches. From the vocalizing in “He’s Gone” to the drums and bass of “”Truckin’”; and then as the Jam goes so far out in a rocking way at that point, even though I know it’s coming, it’s still pretty amazing they have more innovative playing left for that “Other One” melt down. The “Wharf Rat” is wonderfully harrowing at that point! Yea, bring the hyperbole and logic for this one. Such a monster!
In my scientific/mathematical world, ">" means one thing and one thing only: greater than. And there ain't no way Truckin'>Jam. Hence my use of "-->".
I keep a healthy distance from that scientific/mathematical world. I agree, though, that a jam is generally greater than "Truckin'". But there might be exceptions.
True enough; 5/26/72 might be a good example. Where does Truckin' end and jam begin? E'72 contains a possible demarcation. I find the break to be just about at exactly 11:00 of the trunk version. Depending on where one puts that break, this might be a case of Truckin'>Jam.
Yeah. I'm thinking overall 6-22-73 is me fave of the set. Nothing flash, just the Good Old Grateful Dead playing beautifully in an intimate setting.
How do you think that your science/math based mind has impacted your study of music? The underlying logic of western music is fascinating to me. I’m a lawyer so I’m trained in logic, which I think has helped my ability to comprehend fairly quickly a lot of the basics of music theory Obviously theory and playing are two very different things and as much theory as I might understand I’ll still never be more than a serviceable and stiff guitar player.
