Got shut out of the dead release on RSD, the couple in front of me got the last two copies because I kid you not, the covers would look nice on their walls, but I noticed behind the counter a dicks picks, and inquired about it. so I got number 23 for 20 bucks, seeing that it had the longest other one released to date made me have to get it. Haven't had a chance to listen yet as I've been away for work, how do y'all in here feel about that certain pick?
Well, it's 1972 GoGD, so it's already been branded with the mark. El Paso, Birdsong, and Big River are highlights of the first set along with China--> Rider, which is a hard country version, much like, unsurprisingly, the version on the Porch Crusher from 9/24/72 and Playing in the Band. Set II is fairly consistently strong and TOO has some odd moments. When I read posts like yours, I realize that I have too much stuff. I haven't listened to this one in nearly two years most likely. That's a reasonable price for a strong DP.
7/21/90 World Music Theater Tinley Park Illinois on SiriusXM's Grateful Dead channel via the webstream.......not a bad version of Touch Of Grey to start the show
Thanks for the feedback man, I have the porch crusher and will make notes on this pick and compare to that 72. I love 72, have the whole Europe tour and a few picks from the year, when I saw the date and solid price I figured had to do it. Sadly I adopt the completist mindstate too often but I'm excited to hear a new show and curious as to the weird moments, TOO is a favorite of mine and feel it can be the Hyde to Dark Stars Jekyll, but I imagine in a 40 minute version there would be some odd spots.
This Spanish Jam is expansive. And I've never met a Wharf Rat that didn't make me want to find that dime coffee near the docks. Evidently this was before the internet era in SF.
I'm a guy who goes for stellar moments more than solid shows. I'd say that 9/17/72 is strong, solid show with some excellent moments, but 9/24/72 from the Porch Crusher is full of surprises in the second set that make it a notch above 9/17/72 (which means 9/17/72 is still excellent, of course). For example, the Dark Star--> Drums--> Dark Star--> China--> Rider is fantastic with the first 1:30 of Rider exhibiting Jerry exploring no fewer than five permutations on a single riff, finally choosing one to turn into a mantra and then giving way to Billy channeling Keith Moon (see 1:11-1:20 of Rider). All that said, if you don't have DiP 36, 9/21/72, that one is essential (the DS--> Dew is a monster, complete with Mind Left Country of Spain Jam starting at 28:15 of DS). To an outsider, it might seem silly to "need" three shows over the course of a seven-day period, but we of course know better.
"This show must have destroyed everyone's mind..." - Dick Now playing CD 2: Playing in the Band > Eyes of the World > Estimated Prophet > The Other One > Drums > Iko Iko > Stella Blue > Playing in the Band Encore: Johnny B. Goode
Listening to 10/02/1981 from the European tour. Love "Playing..." Some outstanding keyboard- guitar interplay going on here. Fine SBD...
I'm a bit particular on my He's Gone versions. Top three, in not a concrete order are: 11/18/72 - Hofheinz Pavilion; the gentleness of the jam out of this belies the vitriol behind the composition. 9/3/77 - (Do not adjust your sets, folks, this is not a typo.) A long, building jam that starts at 11:06, swirls around a bit, then tips on and off the rails in a very good way starting at 13:09, leading into NFA. I got a tape of this set in '82 and played it more times than I can count back in the day. Good old Maxell XL-II 90s; still tracks clean to this day. 12/1/79 - A second set for the ages; everybody has it, but everybody needs it again with the first set. Ditto on my Maxell statement above (see #2).
Listening to Dick's Picks 22 on headphones right now, and it slays SO HARD. The drums sound like literal firecrackers, and the hard L/R panning really highlights Billy and Mickey's telepathic bond, or whatever was going on between those two. No doubt the most exciting Dick's Picks for me, in terms of pure adrenaline rush.
Re-watched the 1st View from the Vault (6/8/90) - great Estimated, Weir seemed subdued up to this point. Rest of the show is very solid. Remembering being stoked when they started to release shows on DVDs - then being a bit disappointed. Great to have, though. The filler has always been the part I go to most. Additional footage: Louisville, July 6, 1990 Standing On The Moon (Garcia/Hunter) He's Gone (Garcia/Hunter) KY Jam (Grateful Dead) Now listening to Disc 3 - 9/24/72 - 30 days set.
I haven't been to Red's in years although I pass by it twice a day on my commute. The funny thing is we have Red's Java Hut and then down the way and also on the water, the Java Hut. I moved here in 2005 and the stadium was here. But 12 years ago this area of the city was still desolate even with the baseball crowd. Now, it's like SimCity on steroids. I have not been to Red's on a Sat. night. Am I missing something?
@US Blues posted this a month or two ago. NedBase I will reiterate, it is required reading for anyone who wants a full understanding of the Grateful Dead 1969-1975, including some of the best and most renowned performances from that era. It's done by a fan with comments from Ned himself, and a myriad of links. There's also a transcription on the net of a GD hour David Gans did with Ned, again, truly essential reading, even if you think you don't care about Ned or Seastones. Ned Lagin interview 2/3/2001 Also there's this: Grateful Dead Guide: Ned Lagin
As a matter of course, I'm proceeding through late '77 into RT Vol. 1, No. 2, and what do we have but a hot Let it Grow, Sugaree and TMNS to open. What a refreshing concept; the best of the best. We don't have to listen to someone farting in the third row during Yellow Dog Story or Jerry changing a string during a laborious FoTD. I think this concept will catch...wait, what? I'll just go ahead and say it: The Road Trips concept was the best thing dead.net ever did next to the DP's that were compilations. I get the "let me decide" angle, but don't deprive me of greatness for the sake of releasing a complete show akin to DaP 20, which is about as good as peanut butter and poop on stale Wonder bread.
I listened to the 6-10-73 Dark Star today, a bit tough to hear Keith but there were some nice Rhodes moments on there. One of my favorite sounds he gets is a sort of 'organ' sound, using some kind of delay or phaser (was that EHX micro synth invented by then, and did he use it?) along with some kind of filter or wah wah. 9-10-74 has some of it in the "Dark Star Blues" jam right before the verse, but the first example I heard of it was 6-18-74 during the "It's a Sin" jam. A friend and former bandmate in high school, who had (and played) a bunch of vintage keyboard instruments, was never convinced it was a Rhodes and not an organ, but I say it's the Rhodes. Also, and welcome.
I never had a problem with the Road Trip concept, either. Dick's Picks were a bit Road Trippy, too, at times That being said - I like the full shows, too. A little of both will suffice.
I've no issue with both. That said, there was apparently major backlash from some certain folks that put the kibosh on compilations. I can deal with that as long as brilliant segments are not flushed down the terlet because the rest of the show has playing or sound issues. To be fair, recent releases have embraced the "partial show brilliance" concept. Just to put things into more rational context, I don't reject full shows, but I don't mind getting releases such as Hofheinz, 11/18/72 in acknowledgement that the whole show cannot be released. I also like when bonus discs provide a curated "best of" from shows adjacent to the primary release. So, I'm far from being deprived; however, I just don't get the "whole show" mentality. It makes 0 sense to me. It's not like you're there again, even if it makes you feel as if you are. Missing a Me and My Uncle is going to destroy your recollection? Perhaps you were in the latrine during that Uncle.
Early draft of "He's Gone" definitely had more bite... 9 mile skiddin' on a 10 mile ride Hot as a cracker but so cool inside So long baby, rip it up today Write me a letter when you mend your ways Cat on a tin roof, dogs in a pile Nothin' left to do but smile, smile, smile Hangin' on a meat hook, coolin' my heels Signin' no papers and makin' no deals
I didn't see this was already posted. The Nedbase page represents it as an overall positive, it was the loudest part of the WOS, with the most speakers, and the only quadraphonic channel apart from Phil's. There were several downsides - when someone was signing there was a switch to be flipped that on occasion didn't get flipped back, or didn't work when flipped back, certain parts of Phil's input to Ned's synths didn't play through the PA etc. Ned was also a weird cat who many times just decided not to play even when his rig was set to go. He became a recluse after 1976 or so and didn't appear publicly until the 90s at least. I always assumed it was Phil's thing, but Jerry was the one who brought Ned into the GD orbit, and also insisted that he set up his keyboard next to Jerry when he appeared with the band.
I would say it's a bummer we don't have the in betweens, I have the magic 36, when I first got into collecting an old head passed it on to me as an essential, how the hell do you not dive head first at 150 mph after hearing that pick. I love the technical angles mixed in with the emotional responses gained from the music. I feel like that's what Beethoven had in mind when crafting, music is a cord that meets the brain and heart and rocks every spot above below and between. I really appreciate your insight man, these forums are great.
