Dick, Dave, it will be easier for the next generation of Deadheads if the new Vault guy is named Chester. That's a fine "Candyman" with Donna. [tuning] JACK STRAW! Where's my bowl? I can't find my bowl! Has anyone seen the bowl?
You would so buy it you fool no one. I've already pre-pre-ordered. You guys think I'm a pushover because I have dancing bears in my avatar, well I'm not. I'm the Robert Conrad of Deadheads. Oh boy, I better calm down . . . You guys would appreciate this "Deal" if you were listening to it right now. This Deal is phat. Oh wow, Phil bass solo. He plays a melody line and a bass line at the same time. Then Billy and Silly come in. Maybe it was just Billy. I can't tell what Mickey's doing at any given moment. He's like an inessential worker in this band. Oh wow, Eyes. This mellows me out more than sweet live DMB.
19 June 1976 was a well-circulated radio show back in cassette days, everyone had a copy because if you didn't you'd get it from a friend. The quality was good and June '76 was still rare. I still kinda miss the DJ chatter from the WNEW-FM folks because I listened to them all the time over the air, and their chatter was burned into my brain from listening to the cassette so much!
It's like the Hatfields and the McCoys. And so the Grateful Thread entered the Civil War, as heads divided themselves between the Latvala and Lemieux camps. This Eyes mellows me out more than Kenny G. and cough syrup.
Oh wow, I didn’t know that. It’d be interesting to hear the original broadcast. As you’re aware, the “official” version cuts all that radio chatter/banter out. It’s a sweet-sounding show, though, regardless.
See, this is what I try to explain to folks who don't like the GD and I get blank stares. Most folks think that playing the bass is so much easier than playing the guitar. Well; maybe it is and maybe it isn't or perhaps it can be but perhaps it won't be. There are simple guitar guitar parts and difficult bass parts and vice versa. But setting all that aside, what Phil did was so far outside of the norm that I don't know of anyone who can truly explain what he did (and, to some extent, continues to do), including himself. When I think about Phil as a bass player, I don't compare him to other bass players; I compare him to stacks of super-computers or maybe a satellite or maybe an underground volcano. Superhuman efforts or forces of nature that we cannot well-describe in a few words.
nice post. And to take the metaphor further, (furthur?) perhaps., the chances that Phil Lesh and Jerry Garcia , and that very-plays by his own rules rhythm guitar player Bob Weir, and Bill K., too, would all be in the same band, are kind of like the chances that John and Paul and George (and Ringo too) would be in the same band.. in other words... its quite amazing that we got those combinations of musicians working together, all of whom are so ideosyncratic, so odd, yet so perfectly matched to each other.. ok, enough... on a completely different note, for the heck of it... just back from seeing the film 'in the heights'.. its fantastic! (no, not much to do with the GD, tho i suppose one could trace some latin influence in the music somewhere (those 'scarlet-fire' samba like things?)
Very true. Both artifacts of geographical location at just the right time. And I know that @wavethatflag was only echoing a previous post of mine (I know his schtick), but he put it eloquently.
The Dead and the Beatles are two perfect examples of right place/right time, one of life's great fulcrums.
A masterpiece of folk-rock / bluesy-Americana — released June 14, 1970. “One way or another This darkness got to give” . . . 1970/2014 Mobile Fidelity Sound Lab – MFSL 2-428
Studio Rehearsals, San Francisco May 12th 1966 Jon Hendricks and the Warlocks* Jerry Garcia lead guitar, vocals Bob Weir rhythm guitar, vocals Ron McKernan keyboards, harmonica, percussion, vocals Phil Lesh bass, vocals Bill Kreutzmann drums...
Insomniac Theater this morning: 11/11/73 Winterland (from the boxed set). There really aren't enough superlatives for this show. The entire band puts on a clinic--arguably one of their best-played shows. I want to highlight Keith here. The next time you listen to this show, focus not on Jerry playing as well as he ever did, but on Keith. Hiding over there at stage left, Keith puts on a display of just about everything you can do on piano in a band--he goes from Dr. John to Tyner to Rachmaninov and back again. He's the one stirring the drink at this show. And that's saying a lot, because literally everyone in the band was playing at a virtuoso level on this night. Some interesting things: --a first-set Greatest Story Ever Told. I don't recall hearing that happen very often. --a slower, more boogie-ish Loose Lucy than typical for this period. --China>Rider also at a slightly slower tempo than normal. One of the best Transition Jams I've heard. --A very long and soulful first set capped off by a splendid WRS. Sometimes Jerry had a hard time going into and out of the little harmony licks during Let It Grow if he was being adventurous, but he managed to play around the transitions in a nice away if he didn't get right there when everyone else did. Worked well. --That DS. Good lord. It never really goes into full meltdown, but Jerry goes way out there at a couple points. There's also an extended avant garde jazz section that just blows me away. We even get a Bass Solo!! --A really good Eyes; everyone is on the same page throughout, and Jerry got in some magnificent playing.
