The correct title of that is too long and complicated to write on a tape label. Also there's "Let the Good Times Roll,' which is really titled "Good Times" But the GD already had a 'Good Times' aka Mydland's 'Never Trust a Woman,' when they started playing that. So you see it most often as 'LTGTR.'
9/27/76, is that the one where they end up playing "Slipknot" way faster than usual? If so that's interesting at least.
And we've also got a Mississippi Half-Step Uptown Toodle-oo with a lyric of Half-Step, Mississippi Uptown Toodle-oo.
There is a show in late '71 when Jerry clearly introduces the tune as Ramblin' Rose. Did you say you're name was "Ramblin' Rose?"
Did not know Jerry introduced it that way. I think the occasional Ramblin' Rose on a setlist is also due to Deadheads' love of apostrophes, even when uncalled for - Playin' in the Band, Dancin' in the Street, Smokestack Lightnin' etc.
Yes, and if you are wondering what the only time they ever opened a show with Franklin's Tower by itself (and who wasn't wondering that,) it was 5-9-78 in Syracuse, another great 78 show that only exists circulates as an AUD. Franklin's is high energy, as befits a show opener, but the real story in this show is set 2, a typical set list of Dancin>Drums>NFA>Black Peter>Around and Around. It's kind of amazing to compare these sets to later years, when they played 5 or 6 songs in the same amount of time these 3 take up. (I mean that as a good thing - I'm growing to like Around and Around at this length, in later years it turned into a little name-drop between a Garcia ballad and Good Lovin, here they really rock it out to its limit. )
This version of "Franklin's" was in 30 Days Of Dead 2012 so evidently the show is in the vault. The last 30 Days had "The Music Never Stopped" first set closer from 5/13/78 and there too the set is not on the Archive as a SBD.
I fixed it. As long as they're complete, most of the AUDs I've heard from this era are just fine. The one I just listened to (5-16-78, the only 78 Comes a Time!) was missing Estimated>He's Gone, so I switched to the Miller sbd, which is only a partial set 2. But if it had been complete I would have stuck with the AUD. (I'm more partial to Comes a Time from 72 than post-hiatus, but that is a great version.)
The setlists come from people's memories, sometimes newspaper reviews. 9-17 is bad, but not AS horrible as the 9-19-70 AUD, I thought... For that matter, 10-10-70 is lousy too, but you can still make out the band pretty much, while 11-11-70 is like listening to a washing machine with lots of people screaming....
Got it and just revisited it, thanks for the listening assignment. The best kind of homework. It's amazing what one 4 beat drum fill from rack to floor can accomplish, sort of follows tonally the progression and his ending half notes convey musical authority (listen up!). Interestingly enough a similar thing happens just a minute later at ~11:46 but this time BK is going for the change (even plays it on his cymbal bell) but a 'navigational negotiation' ensues and they push it forward for another minute or so until ~12:45 before the change. I think the 10/18 performance on this set is a bit more assured and coherent overall but they're both worth hearing. Also interesting that they would close the first set two nights in a row with WRS. (If anyone is following along on a cassette deck these timings occur at ~ 234 on the counter ) On a somewhat related note got to see Bill Frisell and Thomas Morgan in duet last night (guitar and upright), mesmerizing performance as expected. Their new release from the Village Vanguard is not to be missed, especially for bass players.
Something significat happened in the "Spring" of '71 (specifically 2/18) that I think contributed to this, the 'opening up' of TOO, aside from the phase-out of Cryptical that year, which they only played ~18 more times that year, dropping it until one revisit in September of '72. Conversely they played TOO ~45 more times that year ('71). I love Cryptical and wish they'd played it more often but it's structure may have tethered them more to the overarching form of TOO suite. In other words: The faster they went the rounder they got.
The Carnegie Hall performance is simply not to be missed, especially as presented by Analogue Productions.
Many of those Nak's had adjustable bias and azimuth, much bigger factors in their cross-compatibility than Dubly. Errrr, Dolby.
For the record, I'd say that the 6/28/74 version from the Boston Gahdin (DP 12) is probably the tightest (of official versions) in terms of playing continuity through the changes and the nailing of said changes. The 2/24/74 and (believe it or not) the 3/23/74 versions are strong contenders for second place. When I got back on the bus in 2013 after some 20+ years off, I really related to Playin' improvs. After nearly a year of dissecting and analyzing them, I needed to move on a bit. Dark Star and TOO sufficed for quite a while, but there was a period where I had no strong improv vehicle to lean on. WRS emerged from that dusty rut quite nicely once I figured it out. For the record, all of the versions of WRS I have loaded into Media Player are marked with times for the "lyrical" solo break, the "rise and fall" break and the second [edit] "I am" break. That's just how I roll. (Love Frisell, btw.)
I always assumed this, but they went through a stretch in mid 69 where they started playing Other One on its own, (6-21 is the first 'loose' version in my notes, though they may not be comprehensive in that regard,) mixing it up with other songs, and a couple of those get a bit more open, but it's fools gold. (And you also get stuff like Cryptical>Other One>High Time during that stretch.) Prior to that, as a rule, the real jam was in the Cryptical reprise, whereas after that, even when they bring Cryptical back, it's only occasionally what it was, and more often just a bridge to the next song (though not typically Cosmic Charley (still looks weird) until late in the year. (And that didn't take over as a practice until early 70, to the general detriment of the Cryptical reprise.) Frisell has been known to bust out Dark Star>Comes a Time on at least one occasion.
Excellent, more homework! Coincidentaly, I'm filling the house right now with that monster 31' Playin' from 10/16/74. One thing I've noticed about WRS (with those Canterbury leanings) is that it passes pretty quickly. Even at the typical 16' region the refrains and changes make it seem shorter than it is. (Frisell is a treasure.)
