Discussion in 'Music Corner' started by JRM, Apr 11, 2014.
The Enemy Is Listening
See, I thought it was self-explanatory.
9/19/70. Dark Star>St. Stephen>NFA. The reason why 1970 NFAs were especially good is Bob's rhythm work. Very ballsy. Jerry on a Les Paul this night? Kinda sounds like it to me.
On another thread I referred to this as musical Valhalla, which it is. I am going to listen to it again when it's done. Don't listen to this on Relisten; go to the archive. The RL version cuts out in the middle of Dark Star. Pretty revolting.
The entire setlist is very...ummm...un-fan friendly! Which means I'll check it out later this evening.
That was my third or fourth show
Sure @GuidedByJonO))) Hooded Figures Hauling Guitars Down a Mountain Guy.
A couple of GD related items in CT news today - first, a bear broke into someone's garage, most likely in search of their stash of Dead tapes
Bear makes mess of Colebrook garage
Also, it was announced today that a 2nd-divison soccer team is coming to Hartford starting next season, to play in Dillon Stadium, famous for both the Wall of Sound show in 74 and also a sit in by the Allmans two summers earlier.
I'm pretty sure they will just level the old bleachers and put up new stands, but maybe with the upgrade they will throw a few concerts there again. My understanding is the neighbors were not too thrilled with the 'rock n' roll' element back in the 70s.
technically, I think yes - he was playing a (circa) 1961 Les Paul (the shape that would later be called the SG) during the latter part of 1970.
I just looked at those guitar guys closely; I always thought they were hands holding microphones.
I did too, until your post!
So what is the difference in sound between a Les Paul and the SG?
Are the 78 Dicks Picks worth getting?
Very much so. #18 is top five in the series and maybe even the very best release post hiatus.
#25 are two fine May shows. The first recorded by Bear and the second recorded by Betty
All '78 shows are worth getting. The official releases, too. And not just JGB, the GD as well.
Apologies if this has already discussed....
Apart from No. 9 I would tend to agree with all these points, *especially* No. 4
As someone who has taken full advantage of the extraordinary taper/trader network for Dead shows, I was wondering to learn a bit more about how this seemingly extremely well-managed and organized 'system' works. Mods, let me know if anything I post here is forbidden; but I'm hoping everything is A-OK since I've seen these sites referenced frequently.
From what I can tell, most sources appear on LL first. They then get posted to bt.etree.org, usually by LL folks. That's where I get lost, though. Is the person who posts on bt.etree.org responsible for 'giving' the source a source number and filling out the db.etree.org profile? Where does posting to the archive fit into all of this? Does that take place before or after?
The work that has been done to develop and maintain this resource just seems absolutely staggering, but I haven't seen this written up as a model or example, which is why I'm asking here.
on the db.etree.org page for any given source, there is a notation for the person who entered it.
He seems fun
Nice sequence in yesterday's TDIH, 7/11/81, might be worth checking out for some of you.
Start with the long jam out of Truckin' (kind of unusual post-74) that goes into a good drums. Space actually features the band playing together instead of noodling, into a short but powerful Other One featuring a Bob Dylan-like vocal delivery from Bob.
The link to the show
They redeemed themselves the next night, though.
Not a big difference in sound. The biggest differences are in how the guitars were constructed. When introduced, the SG was issued under the Les Paul name without Les' knowledge. It had a double cutaway (the Les Paul has a single cutaway on the high E side) and the neck joint was three frets higher than on the Les Paul, thus allowing for greater ease of access to the upper register. It also weighed considerably less. Most SGs I've seen have two P-90 pickups whereas many Les Pauls (as we typically know them) have three. Thus, the pickup switching and blending options aren't the same.
So yes, technically Jerry was playing a Les Paul on 9/19/70, but I believe it's the same SG/Les Paul that he used on Live/Dead. For simplicity, I just refer to SGs as SGs and Les Pauls as Les Pauls, despite the reality that the original SG was a Les Paul in name.
Now I'm having o-chem flashbacks...
When I seeded shows, db.etree.org was my first stop. The etree source ID and file checksums were the priority. And then seeding to bt.etree.org at a minimum.
From what I can tell, it seems Garcia used single coil P90s on his Les Pauls (the black and the gold top from 67-68,) whereas the 2 SGs came with humbuckers. (the one he played in 1970 would have had PAF pickups, the one from 1969 the later patented version, though they are pretty similar. )
The SG also has a thinner body with less mass and the neck is barely attached to the body (all of which may help give it a darker sound and not as much sustain as the Les Paul.)
I haven't seen a picture of Garcia playing this SG with p90s, but I assume this one is verified to have been his:
JERRY GARCIA OWNED AND PLAYED GUITAR , CIRCA 1967
(note no bigsby nor any scars, this leads me to think this was a different one than what he's depicted with onstage in 1969. I wonder how many guitars he owned but never played live, I know of at least a telecaster and Steve Irwin's Eagle.)
I honestly don't hear a massive difference between the Les Paul and SG. (like between 68 and 69.) It's easy to hear though, the difference in guitar sound between say 2-13-70 (DP 4) and 5-15-70, where the former is a strat and the latter the SG shaped Les Paul.
In 69 he played a more recent model SG, whereas the 1970 version was a 61 'Les Paul.'
The main differences were the one in 69 had a bigsby on it, plus the slightly different pickups as I mentioned above.
According to a post on the Les Paul forum, Garcia played a 3 pickup Les Paul in Toronto in 67, but the standard LP also has 2.
I don't agree with too many. #10 in particular.
I think they did start out not caring if they made any profits, they always sunk a lot of it back into the equipment and the organization, and a big part of the reason they kept going when they probably should have had a break was the people who relied on the band for their livelihoods.
Allowing fans to tape and trade shows was not fully an act of generosity, but it was certainly not 'a genius business move.' If you look at how it actually came about it was about 1/3 an act of generosity (give the fans what they're asking for) and 2/3 laziness and inertia (Do we really want to do what it takes to stop people from taking what they're already taking?)
I understand a difference between what they started out as, what they were in between, and what they have become these days, but it sticks in my craw when people act like they're just like any other business when even in their current commercialized incarnation they still do stuff like pass source tapes to Charlie Miller (or whoever else) to put 'out there,' tolerate torrents etc.
The way he has it is 'they were never in it for the money' which if you look at it literally is a false statement, given that they took money in exchange for performances, physical media, merch, etc. But that's not what that expression means; it usually expresses something like 'they weren't only in it for the money' which is hard to argue against if you look at their words and actions over the years.
Anyway, I still think its cool that there are newspaper articles about Deadhead stereotypes in 2018, however much I disagree with them.
I don’t care for most of them - especially the stupid idea that people need to high to love “space jams” or abstract music.
Listeners in general are so afraid and seemingly almost even sometimes offended by music that is radically different from what they are accustomed to. I have a friend who is a Dead listener, a guitarist and the ONLY abstract music he likes of any sort is within Grateful Dead jams. Like many others if the music isn’t going to transition into something familiar, he can’t open himself up to listening to the improvisation on it's own merit.
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