Haven't posted much in here lately but I have been keeping up with all the E72 shows AND the E72 podcasts. I haven't had a chance to give Dave's 42 a good listen yet, just too much content to consume and not enough time in the day. I will say that I was listening to the Bickershaw Festival show the other night and the Dark Star>Drums>The Other One sequence with the coda of "Sing Me Back Home" absolutely took me somewhere else. I need to go listen to it again because it blew my mind in the way only Grateful Dead can.
Charlie just dropped this fascinating artifact. Lots of Jerry talking. Grateful Dead - August 28, 1990 Club Front - San Rafael, CA Vince Welnick's Rehearsals Recording Info: SBD > Cassette Master (TDK SA-XG90) Transfer Info: Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6MHz) > Tascam Hi-Res Editor (WAV 24-bit/96k) > Samplitude Pro X6 Suite > FLAC/24 (1 DVD FLAC) All Transfers and Mastering by Charlie Miller [email protected] May 9, 2022 Notes: -- This is not the full band -- Thanks to David Beckwith for supplying the cassette Setlist: 01 - Fire On The Mountain 02 - Jerry And Vince Talking 03 - I Know You Rider 04 - Wharf Rat 05 - Jerry And Vince Talking 06 - Jerry And Vince Playing 07 - Vince's Wife Shows Up 08 - He's Gone 09 - Vince Playing
The soundboard on the Archive is just the second set, minus the "China Cat" that came before "I Know You Rider." I guess that's all they have in the vault, as well, so Dave must have thought the tape was a good candidate for RSD Product just because he could easily fit it all on 2 LP's. Only he cut "I Know You Rider" because he didn't think people would like how the tape comes in during the transition? All the more reason not to put it out, at all, then.
I’m absolutely down with the great, joy-generating vehicle for ecstatic jamming part, but the somewhat stumbling rush-of-words lyrics and rarely well-sung motivational-poster chorus harmonies, not so much. The meticulously E72-style overdubbed version on the Grateful Dead Movie Soundtrack album is for me the one rendition that gets everything just exactly perfect.
Hey guys! Long time no post (for me anyway). Being a new Dad has really taken away most of my free internet time (not that I'm complaining-- I love it) but I've been following along with all the discussions here as best I can. I just got turned on to a show I've never heard before that is very interesting for a few reasons: 9/17/82 Cumberland, ME Brent doesn't sing during this show at all. No Brent songs, and no backup vocals either. Comments on Archive indicate he didn't even have a mic set up this night. Any theories why this was the case? Apparently he was back singing the next night, but I can't think of any other show where Brent doesn't sing a word. Seems odd? Speaking of Brent, another interesting thing at this show is his sound. I've detected zero synth whatsoever. Instead, he sounds like he's playing some sort of acoustic piano-- very similar sound to Keith's first tour with the band-- very honky-tonk. Which, IMO, really elevates this show and makes it unique. His fills sound clean and very clear, and his sound gives the show a unique vibe. Great, great setlist. Apparently the first Throwing Stones and 2nd Touch of Grey? The boys are clearly feeling it. The post-drums/space segment is must hear. Spanish Jam-->Phil bombed Other One with an electric intro, clearly egged on by the crown (I'm listening to the Jim Wise Aud, which I highly recommend) After a superb Other One, we get a GDTRFB-->Dew--> Sugar Mags. All played extremely well. Anyway, was curious if anyone had the inside scoop on the whole no Brent singing/piano-only setup that makes this show very unique. Hope you all are well!
Well it's certainly not piano-only since he plays B3. Brent's main piano at that time was the Yamaha CP-80, a later generation of the Yamaha CP-70 that Keith had been using post-hiatus. The Yamaha was a pretty decent representation of an acoustic piano, probably the best at the time. Why no vocals? Maybe he voice was just shot that day. I'm kinda wondering if Brent even had a synth in his rig on that tour. One song that would be a typical synth song was Feel Like a Stranger and on the 9/9/82 show he's only playing the CP-80. I'm thinking around this time his setup was pretty simple, just the B3 and the CP-80. This is purportedly 8/3/82 (correct?) and it looks like just the B3 and CP-80.
Noun 1. chromatism - hallucinatory perception of colored lights Sounds like it's right up the alley of many Deadheads. Chromaticism is likely the word you meant.
Welcome back and congratulations. I'm not familiar with that Portland show but it sounds like a typical early-80s banger.
10/30/73 Dark Star at around the 6 minute mark gets into a sweet groove. Only heard this once before and looking forward to a second time through
Feeling the too much content. I'm in the Euro 72 zone, so i haven't fully digested the new Dave's. Same feeling on "Sing Me Back Home" been loving these. How this didn't make the final album cut... ?
I had a nice audience copy of the second set back in the day, and enjoyed it. However, I have to say I didn't notice the lack of Brent vocals or anything unique about his keyboards, maybe because I wasn't all that familiar with '82 shows back when I got it later in the '80s. I don't think I've ever heard the first set. I second your recommendations for the second set, especially post-Space.
I actually live in Portland now, what kind of read do you want? Like most of the country, rent and housing prices are going out of control because investment firms are buying houses at inflated prices, driving up the price of all homes (my home has gone up over $100k in value in five years) and thus forcing more people to rent, driving up the price of rent. Traffic can get really bad as the city was never designed for this many cars and the perpetual rain wears the roads down quickly, plus drivers here are honestly some of the worst in the country. Winters are getting colder, with snow a more frequent event (and the city is never prepared for it), and 100+ degree heat waves in the summer in a city where most homes don't have A/C. On the other hand, the access to nature here is amazing, tons of genuinely nice, community minded people here, when the weather is nice it's SO nice, great local food and music scene, and there is a certain laid-backness here that only seems to exist on the west coast. Since this site doesn't allow discussion of politics, you can DM me if you want my take on the political situation here (spoiler: It's not actually an anarchist hellhole).
I don't think I've been there in 30 years tbh. I moved away when I was 12. It was a nice place to grow up. I hear some iffy things about Portland now but it's tough to know how much of that is exaggerated in the press versus reality. It's Pretty. Rains a lot.
The bolded part was certainly true when I lived there from 2008-2010. I didn't love it. And I loathed the rain with every fiber of my being, but it did make everything pretty and green. That city probably has the best public parks of anyplace I've lived. Best public transit system, too, and although it wouldn't take much for it to be better than the southern and midwestern cities I've lived in, I felt like it was a genuinely good system. And Powell's! POWELL'S! Fantastic library system, too -- the main library downtown is a beautiful building. Anyway, it's a neat city. One of these days I'll revisit the shows in the PNW box. I look forward to the TIGDH listeners' reviews of the 74 shows in the next couple weeks.
This morning’s listening is Europe ‘72: Grote Zaal, De Doelen, Rotterdam, The Netherlands, 11/05/72. Rotter-damn this is absolutely tremendous. A mind-blowing, face-stealing adventure that has a little bit of everything. It’s long, too, putting you through the wringer. The Dead running through the full gamut of their repertoire showcasing everything in their arsenal, covering a wide spectrum of emotions. It’s easy to see why this is highly rated. It was also apparently Dick Latvala’s favourite show of the tour. ‘Nuff said. The first set is ace, at this point in the tour that’s no surprise—we all know what we’re gonna get. The Dead’s top-quality brand of psychedelic cowboy-blues-rock. The 2nd set though … Morning f u c k i n g Dew! The first of the tour (and year, for that matter), and it’s a belter—supremely heady and heavy. What a way to kick-off an epic set. Then there’s some screeching feedback-drenched soloing on an emotionally-charged The Stranger. Damn. Just damn. Heartbreaking. Are these getting better and better, or what? Pig’s bluesy Next Time You See Me, with a premonitory “things won’t be the same” … well maybe not, but something epic this way comes … … surely a candidate for longest-ever Dark Star, this is a magnum opus; a gargantuan beast encompassing many themes—it’s one hell of a creative, cosmic journey. Mind-melting mayhem. Spaced-out weirdness. Intensely powerful meltdown. Flat-out ridiculous. It’s almost too big and almost too overwhelming to digest in one sitting. It bears repeated listening. It’s so complex; an ultra-jazzy space voyage into another dimension containing hints and themes of almost everything (Caution, Turn On Your Love Light, Bird Song, GDTRFB, and then Sugar Magnolia, where we eventually end up). So completely enthralling, and compelling you don’t notice they haven’t even sang a word until after 23 minutes (from beginning through Drums)! Then they keep going … Some may decry its 45-minute length and argue whether or not it’s justified, as they do seem to flag and run out of steam at points along the way, or is it that this version lacks any real cohesion as they flit from idea to idea, not staying in the same place for too long, touching on a theme then quickly discarding it and setting off for something new and different—whatever it is, it’s all part of the journey, man. It’s an outrageous endeavour. What must the crowd have thought, here? Rotter-damn … the Dead in full-on mind control, skull-f u c k mode. Bend to our will or perish. Or something like that. Pig’s last-ever Caution, and the final “full” version is delivered with intensity and fervour with a Who Do You Love? rap sandwiched in-between. I think the Dead only ever played the Caution Jam after this one. So, Playing In The Band opens, and Uncle John’s Band closes. A neat touch—another of those nice Dead coincidence/occurrences I’ve previously mentioned. One More Saturday Night was played as an encore, but is missing from the official release. The Good Ol’ Grateful Dead 14 - 1 Europe. This is getting embarrassing now. I: Playing In The Band, Sugaree, Mr. Charlie, Black-Throated Wind, Deal, Chinatown Shuffle, Mexicali Blues, China Cat Sunflower > I Know You Rider, It Hurts Me Too, Beat It On Down The Line, Brown-Eyed Women, Jack Straw, Big Railroad Blues, Good Lovin’, Casey Jones. II: Morning Dew, Me And My Uncle, The Stranger (Two Souls In Communion), El Paso, Tennessee Jed, Next Time You See Me, Dark Star > Drums > Dark Star > Sugar Magnolia > Caution (Do Not Stop On Tracks) > Truckin’, Uncle John’s Band. E: One More Saturday Night.* *missing from offical release. 1972/2011 Grateful Dead Records – GRA2-6023
I don't think I realized before that One More Saturday Night was played on 5/11/72, but not included in the trunk. The only other song that I knew of that didn't make it (wasn't recorded, at least to multi-track) was Casey Jones from 4/7/72, IIRC.
The February 23rd 1974 Row Jimmy is not a bathroom break song. If you have to go during those nine and a half minutes, you HOLD IT.
Yep, 1st set closer Casey Jones from Wembley, 07/04/72 isn’t included on the official release, either. I think they’re the only two songs from the tour not “officially” released.
