In Deadbase I find two from the 70's (11/4/77, mentioned above, and 11/5/79) and then it became somewhat common in the 90's starting with that 3/29 show.
Jerry interviewed by Blair Jackson, 10/28/88: BJ: As a player, what is it that makes some of the modules work for you? Like "Goin' Down the Road" - "Miracle" - "Mr. Fantasy" is one you've done a lot recently. JG: Those work because of graceful key relationships. Those work well because we picked them to work well. To me, the interesting ones are the ones that have a lot of interim playing opportunities, like "Estimated Prophet" into "Eyes of the World" - even though that's one we do a lot. They have an interesting key relationship to each other. You can plan an E-major seventh scale against the leading F-sharp minor in "Estimated Prophet" without changing a note. So it's the same intervals exactly; it's just in different places on the scale. That makes it so you can play through a lot of places. And while we're making that transition we go from, like, B-minor to C-sharp-seventh, to a little E-minor, a little C-major. There are these possible changes, so that by changing one or two intervals, all of a sudden they'll work, but sometimes we have to discuss them because they're not all that obvious. It's not obvious what the leading tones are. Also, the rhythmic relationship is very "off". So I can find a pulse in there that'll be just a perfect tempo for "Eyes of the World" regardless of what tempo "Estimated Prophet" was at, and that makes it interesting for me 'cause it's wide open. Bob tends to not design much in bridging material.
No, but that's just exactly ridiculous. Meanwhile the Jam of Fools--> Ship of Fools from 6/23/74 is just exactly perfect and Phil caps off the lead-in (which is more like a jam out of Fools that just happens to occur before it) with three meaty, beaty, big and bouncy dyads. How can you not just smile?
Well, I can explain… sort of. I was trying to sort of go chronically, and then I sold a bunch of records and bought a ‘72 trunk, which took me basically all summer to give each show a 1st listen. Then I decided to take a break from ‘72, and listened to some ‘74 for a while. Then some ‘89. Then I got back to ‘72 and did Dick’s 11 (forgetting that it falls chronologically after 36 AND 23). Then I started 23 but fell asleep halfway through… though what I remember was awesome… but now I feel like I need to revisit THAT one first. Then I got excited about the Garden box and listened to Dave’s 20 to pregame for that. So what it amounts to is that I’ve not heard 36 because I’ve been distracted by various other Dead shows. I know it isn’t an excuse, but I throw myself on the mercy of the court. Does it help that I have been LOOKING FORWARD to hearing Dick’s 36 for months?
Perhaps. What I can't figure out is why you don't really, really want your head ripped off and sewn back on in the same listening session. That Dark Star will do that y'know.
There’s really no excuse. Just kidding . It’s funny, I always assumed DP’s #36 was Chapter 1 for all newcomers to the Dead.
I started keeping a spreadsheet at some point, and though I’ve missed one or two I think, it indicates that I’ve managed to listen to 103 shows/releases without having managed to hear Dick’s 36. I do plan on hearing it soon, but I’ve sorta been thinking that for six months. If there is any strange comfort in that, it’s that I’ve found so many great shows already, and one of the best is still yet to come.
Well I’m back from a Queen’s memorial lull; we were unexpectedly fascinated by the British spectacle yesterday and for the previous week. RIP QE2. So back to the subject! I also saw all 5 of the 87 MSG shows. Another notable thing to seek out is the 9/16 Wharf Rat, a really spectacular later era version. And thanks for linking to Maggie’s Farm, I’d forgotten what a great debut version they pulled off that night.
I'm going to hear it before you and I never even bought it! Bwahahahaha!! Dick's Picks Vol. 36: The Spectrum, Philadelphia, PA 9/21/1972 (Live)
This arvo’s listening is (a double-header) Palais des Sports, Paris, France, 20/09/74 & 21/09/74. There’s a laid-back groove and drugged-out foggy haze to this pair of shows, the final two of the Dead’s Europe ‘74 tour. They seemingly get short shrift due to off-stage antics, which included copious amounts of cocaine being consumed, Jerry dabbling with “china white” heroin, general bad vibes all-round, Billy losing it and throwing a scooter through a window etc … but they are from 1974, so there’s gold to be found, after all. Some brief notes … Palais des Sports, Paris, France, 20/09/74: This one’s got a weird vibe, and it’s rather unique-sounding throughout. There’s nothing too unusual in the 1st set—it’s fairly standard (read: great) 1974. Opening with a countrified twang, a rockin’ Cumberland Blues gets the blood pumping; coming mid-set is a long and drawn out, super-jammy Scarlet Begonias with weird and trippy robotic synth-type sounds; FOTD was only recently brought back, and it’s sweet and jangly; then WRS > Stella Blue is a delicate beauty, as usual. The 2nd set, though, is deranged. Like, crazy madman deranged, with everything a little off-kilter. What kind of sorcery is this? China > Rider is so chill with a unique stop-start, sputtering kinda beat going on—it’s weird to explain, it’s like everyone is playing a different tune—and an almost-bluesy Nobody’s Fault But Mine transition jam. I’ve not heard one like this before, and it’s damn fascinating; Brown-Eyed Women is blissfully jazzy—another fairly unique rendition; strangeness once again, as I’ve never heard GSET with an intro like this before, or sound anything like this one—it is wild and off-the-rails hot. What is going on?! Oh, and warning: Donna goes absolutely insane; an almost raw and primitive, bare-bones Brokedown Palace is taken at an even more leisurely pace than normal; Truckin’ goes off, despite everyone not quite knowing where they are, it scrambles to reach an intense peak, before finally melting into a jaw-dropping, spacey-jazz fusion outro jam which finds its way into; an incredibly choppy and rhythmic Eyes, which is brash with incessant crashing cymbals and angular, stabbing guitars; that in turn, unexpectedly becomes a slow groovin’ NFA. What the actual f u c k? That’s gotta be a rarity, fo sho! Do you even think they knew what they were doing. I don’t! I: Cumberland Blues, Jack Straw, It Must Have Been The Roses, Beat It On Down The Line, Scarlet Begonias, Black-Throated Wind, Friend Of The Devil, El Paso, Row Jimmy, Weather Report Suite > Stella Blue, Around And Around. II: China Cat Sunflower > I Know You Rider, Big River, Brown-Eyed Women, Greatest Story Ever Told, Brokedown Palace, Truckin’ > Eyes Of The World > Not Fade Away > Goin’ Down The Road Feeling Bad > One More Saturday Night. E: U.S. Blues. Palais des Sports, Paris, France, 21/09/74: This one is different, again. This is relaxed, take-your-time GoGD. Mellow-yellow, loosey-goosey, and in places sloppy—relax mon ami, we’re in no hurry to get anywhere, with what sounds like a load of space between instruments, or is that because you can hardly hear Bobby, due to a strange mix. Phil is loud and proud, though. Praise be! A lazy-bopping Bertha opens, the groove reminds me of Buffalo ‘77, with Keith’s keys a highlight; after a false start, there’s an enchanting Peggy-O that is drop-dead gorgeous; then, Eyes > China Doll is the highlight of the 1st set—Eyes is slowed right down and features an exceptionally dark and jazzy outro jam with thundering carpet bombs from Phil, that becomes more eerie as it gently dissolves into a spellbinding China Doll. You want the weirdness, ok … Seastones > PITB is a trip to a galaxy far, far away—an intergalactic attack, it’s a probing assault on the senses—experimental and exploratory through an array of squelchy beeps and blips throughout, it then settles into a fusion-like groove, before drifting through a spacey floating section into; a swingin’ PITB which in turn simmers down into blissful, futuristic space-electronica that puts you into a deep trance; a brief Drums interlude then we’re dropped back into orbit exploding through the stratosphere and hurtling towards the earth—you’re snapped from a dream-like euphoria by a terrifying, unrelenting shriek; … fall into the warm embrace of a “not too fast and not too slow” Row Jimmy, which is a shimmering beauty; UJB is a blast of feel-good positivity; Big River ignites and scorches; and a massive and unique 17-minute Morning Dew has that sloppy, lethargic feel and vibe, slow-building in intensity and featuring some incredibly deep and intense Phil-bombs—a sublime version; a couple of rockers bring the show, and tour, to a close. Two of the strangest, most unusual shows in the Dead’s history—after which, they returned to the U.S. to play a run of farewell shows at Winterland, drawing a close to this chapter of the Grateful Dead story. “What a long strange trip it’s been” … I: Bertha, Mexicali Blues, Sugaree, Promised Land, Peggy-O, Me And My Uncle, Deal, The Race Is On, Loose Lucy, El Paso, Eyes Of The World > China Doll. II: Seastones* > Playing In The Band* > Drums > Playing In The Band*, Row Jimmy, Big River, Ship Of Fools, Uncle John’s Band, Around And Around, Morning Dew, Sugar Magnolia. E: Casey Jones. *with Ned Lagin on electric piano and synthesiser.
21 September 1973- The Philadelphia Spectrum Getting it on in the City of Brotherly Love. First set hidden gem: Here Comes Sunshine. Lot's of good anniversary listening today for those that are so inclined. This recording has some unfortunate cuts, and the sonics are suboptimal in places, yet it is a fulfilling listen.
They’ll be released as part of a Europe ‘74 box set in two years’ time for its 50th, I hope! I know some of the London run was released on DP’s #7, but that was 25 years ago, and the Dijon show was in 30 Trips, though a full tour box would be awesome.
The first show from that odd "horns" tour that I got in trade. Pretty good GD show with the horns only making a short appearance at the beginning and end of the second set. Reportedly the board reels reached collectors when Garcia left them at a girlfriend's house.
