I'm talking about the last two minutes or so before the transition into Franklin's. Incidentally, it seems like one of those situations where the AUD sounds far more compelling than the SBD.
I'm not in the mood for complete shows, so, since it was mentioned recently here and it is one of my favorite passages from 1976, I'm listening to: October 9, 1976: "Help on the Way"> "Slipknot!"> "Drums"> "Samson and Delilah"> "Slipknot!"> "Franklin's Tower"> "One More Saturday Night" ---> I'm not going to listen to this one.
With this '76 kick in the last few days, I revisited Dick's Picks 20 (9/25 and 9/28) and Dave's Picks 18 (7/17 with most of 7/16). DiP 20 was nowhere near as lethargic and eh that I had originally thought. 9/25 still struck me as a so-so show with its mix of duds and hot moments. 9/28 was fairly similar, just with a higher percentage of hot moments. The two jams were pretty sweet. Still not a top DiP for me, but I recognize a little bit more of its merit now. Dave's 18 on the other hand, is just plain awesome. I preferred 7/16 to 7/17, but both shows are remarkable. The jamming, improv, and just general feel to the tunes makes you feel good about life. Both 2nd sets are noteworthy for their jams and I really dug the TMNS>Scarlet from the first set of 7/16. And the Peggy-O, and the Big River, etc. Probably in the top 5 Dave's for me, along with 11/17/73, 1/22/78, 2/24/74, and 11/6/77. I need to revisit this one more often. And now I'm off to the Winterland, June '77.
It is worth hearing the audience tape from 9/28/76, since a few minutes of transition jamming between Playing In The Band and The Wheel is cut from the soundboard recording.
I'm in Paris right now, so the appropriate E72 shows seen best. Starting with 5/4/72. The GSET opener has some tasty jamming.
Ah, cheers - I really only started to get into that group around 2000-2001, so maybe missed a lot of the immediate post-Jerry conversation. You're right - he's NOT known as an improviser (I'd love to see him tested in that sort of environment) and, as far as I'm aware, is not acquainted with or connected to the Dead's music (although there are apocryphal stories that Jerry really liked Knopfler's playing). What's interesting to me I suppose is that he arrived in a similar musical shared space to Jerry, via a completely different route & set of circumstances.
After ~ 40 minutes of some far out uber abstract electronic based small form improvisation, I switched to the end of disc 1 from Hundred Year Hall to give a listen to the 9 minute PITB with the maybe the best sounding Phil Lesh from the whole E72 tour and then the Lovelight that has the Archtop endorsed amazing feint to GDTRFB at slightly under 16 minutes then the NFA Jam which is all surrounded by classic GOGD genius which THEN transitions into GDTRFB at shortly after 19 minutes.....
Wayback machine took me to the Great Western Forum in early February, 1989 - the 11th to be precise. The first set, well, honestly nothing to write home about beyond maybe the smoking "Minglewood" and a Jerry's playing on "Queen Jane". The opening "Mississippi" never really gels, a similar problem curse the set closing "Bird Song". The jam doesn't come together and they just kinda limp to the finish line, makes me wonder if some more upbeat closer was planned and scrapped. I guess also noteworthy for the "Built To Last" debut. Brent brings us a thankfully short, though very impassioned, "We Can Run". Look, I appreciate the sentiment, but, uh, it's not a terrific song. Thankfully the second set feels more inspired so far. A nice, if unexceptional, "China > Rider" to start things off. Folks with their dancing shoes probably loved the "Man Smart" that followed, but I just still can't find my way into this song and just locked into the drummer's energy as they propelled the seemingly endless Brent and Bobby vamping at the end. Weird, weird placement for this early version of "Standing On the Moon", clearly they just don't know where to drop it yet. I have a huge soft spot for this song though and every time Jerry's voice breaks my heart a little. Diving back in right now....
Jerry was a fan of Knopler. That isn't apochryphal. He mentioned Dire Straits in at least tow different interviews as favorites of his, and one of his biographies mentions him attending a Dire Straits show in the early 1980s. (Which was probably the Alchemy tour.)
Yes, I've been searching around for that quote. I did find this one, from Jas Obrecht's 1985 interview Q: Any bands you'd go out of your way to see? Garcia: "There are a few, yeah. Let's see - the last band I went to see is Dire Straits. That was the last band I went to see live, a couple of years ago. There are others that I would, but most of the time I'm out working and stuff. Hooterollin' Around: Jerry Garcia Concert Attendance 1961-90 But I also thought there was another where he talks specifically about Knopfler and how he likes his playing.
Thanks for the clarification - I couldn't find any direct quotes on t'interweb, hence the use of "apocryphal", but it surprises me not in the least that Jerry would like his playing; such a shame they never jammed or met, as far as I'm aware.
1980 – Q: Are you influenced by any of the trends that are around? Do you listen to the radio? Garcia: Sure. I listen to everything. Q: Anything particular that’s turned you on lately? Garcia: Just the stuff that’s hit everybody. I like The Wall a lot. Everybody likes that. I like Elvis Costello. I’m a big Elvis Costello fan. I like Warren Zevon a lot. I mean, I’ve heard good stuff from almost everybody. I don’t think there’s anybody who’s consistently putting out great stuff, time after time after time. But everybody’s got something to say and there’s moments in all of this that are real excellent. I go for the moments. I keep listening till I hear something that knocks me out. Dire Straits – I love that band. It’s hard not to like that band. Grateful Dead Guide: Garcia's Record Collection
Makes sense to me, they're both pickers with a country influence. (Extra points for excellence use of "apochryphal.")
Garcia and Knopfler both have a similar light touch that can make the notes seem to come without an attack. Garcia's solos in Simple Twist of Fate on the JGB album are the kind of style that Knopfler could emulate.
So if for no other reason than the very fact that they exist, I thought I'd share my listening notes for the second set of 02/11/89. A few caveats before you guys clown me too hard: 1) keep in mind these are from the POV of someone that didn't get on the bus until after Jerry died in '95, 2) I'm not a musician so I likely bungle many terms and descriptions, 3) these are really just random and off the top of the head. The second set launches right into a “China > Rider” that immediately gives me more hope for this show’s back half. They don’t break any new ground with this airing, but it’s well played. “Man Smart” next and while I’m sure it had some toes tappin’ in L.A. on this particular evening, it’s still “Man Smart” and I am just left to try and admire the drummers’ drive in keeping this going through Brent and Bobby’s endless vamping. Very odd placement for “Standing on the Moon”, but I’ve got a soft spot for this one and never really object to it being played. I believe this is the third ever airing, so they are trying to figure out where it should land in the set. Third quarter probably isn’t it. Jerry’s voice on this one almost always breaks my heart just a little bit. There’s Brent and Jerry’s distinct tone calling in the “Estimated Prophet”. This is where I get back into it and can feel the resurgence that’d be coming throughout ‘89 and ‘90. They are stretching things out nicely, but it doesn’t feel forced. This is such a hit or miss song for me, Bobby’s ad-libs can drive me nuts, but when the jamming is this good I love the vibe and tone. Brent’s into it too, which always helps. Oooh, things are getting a little spooky here and we’re moving almost into “Space” territory. If it weren’t for the rigid setlists by this time I might be fooled, but we haven’t gotten “Drums” yet! Still, it’s cool and I like the shift in tone - lots of feedback and Brent effects, but Jerry’s clearly having the most fun. I dig it when they get all dissonant and crazy in unexpected places. Jerry dives through with some quick runs between the more spacey effects. Brent tentatively brings in some more grounded beauty, but then the familiar melody of “I Will Take You Home” comes in. Not where I expected that jam to lead, but hey. I used to really dislike this song before I got to know and appreciate Brent, I still don’t go out of my way to hear it, but I appreciate where the tortured soul is coming from with this lovely ode. It means a rather more abrupt transition to “Drums”, but that’s okay. Hey! What do we have here? Some handclaps and chanting that is clearly not Billy or Mickey. Off to Google I go. Ahh, there we go. It’s Diana Moreira and Flora Purim on the vocals and handclaps and we also get Airto Moreira adding percussion (it’s a family affair! I love when the Dead expands my horizons!). Anyway, some cool treated vocal effects before the intensity really ramps up. I’m digging this a lot. Folks, this is why I never skip over “Drums” and “Space”, this is where the real legacy of the ‘60s improvisation can be found. We dial back on the speed to get to the more MIDI (I think?) effects and weirdness. I’d like to have stayed in that more primal zone longer, so thankfully we’re back there fairly quickly. It’s amazing how much many more added dimensions an extra pair of hands can bring, I love this stuff and, judging by the crowd, at least a couple other folks that night did as well. Okay now things are getting intense and a little unhinged, I like it, but this is getting some surprisingly primal places with the chanting and the echoey effects. If nothing else, this set is full of some unexpected twists and turns. I’m not sure what the effect is as we start ramping towards “Space”, but there’s this almost digital clipping sound going on (it’s clearly from the stage though, not a recording artifact) that puts Aphex Twin to mind. Cool! The guitars and Brent are back, so we’re into “Space” now, the first time this show I’m really feeling Phil - if I’m being honest. It’s a bit of a gentle veer back after how intense that “Drums” got, so I’m not going to complain in the least - I always loved how these guys could carry us back down to the ground after the journeys into the heart of darkness (which is a specifically chosen metaphor, I got some heavy Apocalypse Now vibe from that “Drums”, more than just the obvious connection). It’s a brief one though, as we shift into “Eyes”. Phil still making a strong impression on me here with what he’s bringing to the table - I’m not sure if I just wasn’t listening closely enough earlier or if he really woke up in the past few minutes. The post first verse jam is encouraging, Airto’s apparently back to add some more flair. Even so, this is a gentle version so far, like a walk through a summer garden. Jerry’s doing fine here after the second verse, but my ears keep getting pulled back to Phil - his lines here are somehow both elusive and shimmering, like a firefly you keep catching out of the corners or your eyes but can’t ever seem to lock onto to actually catch the flight path. The last jam catches fire and we speed up the tempo, I’m anxious to hear where this goes. I’m digging the interplay here, especially with the added percussion behind and Brent finding little openings to pop in. Oh wait, that’s it? And we’re into “Miracle”, I was really hoping that “Eyes” was going to have more legs than that. Phil and Jerry are both still putting in some great work, so I won’t complain too much and enjoy the ride instead - the crowd’s clearly into this, so feel the vibes. Some nice organ work by Brent filling in the cracks towards the end, before we check in on ol’ “Black Peter”. Again, it feels like a pretty minimalist version here, which oddly suits the mood quite nicely to these ears. Jerry’s solo is pretty soulful, with a really bluesy vibe. I can just feel the air in the late night gin joint here as the regulars drown their sorrows. Really dug that version. And hey “Lovelight”. I don’t know, this always just makes me miss ol’ Pig, Bobby’s exhortations just don’t seem to do the same thing for me. But at least Jerry and Brent are giving me something worth focusing on. Shockingly, given that this was a Saturday night, they don’t do the expected for the encore. Instead we get Uncle Phil at the mic for an airing of “Box of Rain”. He actually sounds pretty good tonight, it’s to the point where this is kind of an underdog song I want to pull for.
re: Garcia and Knopfler Jerry kept a keen eye on all things Zimmerman and I believe Knopfler began his own work with Dylan in '79 (Slow Train Comin'). That was the album right before "Saved" which Dylan was touring behind when Garcia first stepped on stage with him November '80. (Dire Straits sold several million records of their own in the US between 78-80, of course...but I'm a big believer of scratch just a bit and there's always Dylan connection).
Nice write up! Keep them coming. It doesn't matter when you got on the bus, your points are just as valid as the person that started at the acid test.
I couldn't agree more. Add in George Orwell. I believe that all scenarios in life can be best explained by referring to either Dylan or Orwell.
I just had a thought about the 3/23/75 set from snack. it reminds me of the 6/14/68 set from the fillmore east. leave it to the dead to get out there in front of thousands of people for the first time in months and play what they did. as they only had a short time to play they could have just played a bunch of their regular stuff and rocked the house on a bill with many others who pretty much did just that. but no, they came out and played a long abstract instrumental that no one had ever heard before. they did rock out for their closing song but you wonder what people thought about this just as the crowd probably did at that 68 fillmore show with the feedback sandwich.
That reminds me of a story my parents told me. Some time in the late 80s, they took my uncle and his wife (from Taiwan, recently came to the US) to a Dead show. After the show, she said that it was a strange concert. The band was on stage doing what they wanted and the crowd was out doing their own thing. Sometimes they were connected and sometimes they weren't.
I'm not familiar with the 68 show, though I agree wholeheartedly about the SNACK benefit set list. Grateful Dead Guide: Buzz-Saw Music: Fillmore East, June 14, 1968 (Guest Post)
