I'm confused (what's new?). Jerry's in the middle, Bob is in the right channel (I think). Who's playing the percussive guitar part in the left channel (basically a single strum on each "1")? Or is that Pig on some sort of keyboard (at first I thought it was a keyboard, but now I think it sounds more like a guitar)?
It's the Skull version. The left channel has a piano overdubbed in the studio (might be Jerry? Seems too simple to be Merl Saunders but I don't know if Pig would have done it, and Keith wasn't around yet).
^ this video is from Winterland October 74, correct? I don’t recall this microphone set up in 71, I did not watch the video yet, how cool would it be for Winterland 74 DVD video box?
The video is various photos of Garcia over the years. The one in the thumbnail is '74. (Too bad there is no April '71 footage.)
Oh, why yes it is! I assumed that it was the version from L&G and there weren't any overdubs on that (that I know of).
Thanks, good ear! Didn’t realize that at the time. I simply was cruising YouTube for Wharf Rats and it grabbed me. Got my day off to a great start! - I vote for guitar is strumming in left channel. As you know- I’m no Grateful Scholar - just like what I like. My experience is that there’s a good chance repeated listens will yield musical Cashback. That outro is divine. EDIT; Actually, that left channel be a percussive device getting brushed on.
4-7-72 opening night of the Europe 72 tour has a very nice Wharf Rat the highlight of the show for me.
I believe Jerry played the piano in the Skull version. Merl added the organ that comes up later in the song. Jerry also redid his vocal in the studio. In short, the guitars & drums are the only parts left from the live performance!
I was already in for life when I heard this version of Silver Threads and Golden Needles, but just damn, got damn. The guitar intro, the backing vocals, etc.
This evening’s listening is Stanley Theatre, Jersey City, New Jersey, 28/09/72. The third and final show of a legendary three-night run at this venue, it’s arguably the best one. I believe it’s said that, “when Phil is on, the band is on” … I’m not sure if they have this full show in the vault—though if they do, then it’s criminal this hasn’t seen an official release yet. Maybe it’s gonna be DaP’s #44 … wishful thinking. Unfortunately the opening Truckin’ is patched from AUD but you can hear it’s smokin’—a real sizzler; “Well I got no chance of losing this time” … on Loser, the vocals are inaudible until the last line of the song, so it’s quite fascinating just hearing the band playing; then the mix improves, with only a few instances of splices and patches—but even with these minor issues and it being Fall ‘72 an’ all that, you get the drift of how things were … and that’s pretty, pretty hot; the rest of the 1st set is rock-solid—but with a unique extended intro, I believe due to Jerry changing a string, the rip-roaringly boisterous China > Rider (despite half of Rider being patched with sub-par AUD) with its (almost feeling) groovy transition jam; and the mega-heady, mellow psych-jazz-tinged PITB in particular, are tremendous. Then comes the 2nd set, the reason we’re all here … well, the 2nd set is bonkers. Step this way, as insanity ensues … The first moments of Bertha are cut, but it comes barreling in and bounces on through as it’s propelled along on the back of Phil’s booming bass, before Jerry delivers a solo that tears the place apart; opening with an ecstatic whistle count-in, things wind-back and spring into action with a rippin’ The Greatest (St. Stephen) Ever Told … holy sheeeeeeeee-it, this is off the hook and just plain incredible—it’s an aural assault on the senses, as they set upon and attack a St. Stephen Jam with complete and utter disregard for everyone’s mental health. It is quite simply, face-stealing magnificence, that’ll leave you grinning from ear to ear. Donna wails and Jerry’s guitar screams, before Bobby then announces, “Well folks, I think something blew up!” … yep, my f u c k i n g mind!; Brokedown Palace has a beautiful rawness, though it’s not quite as polished as the previous night; a thick and hard-edged MAMU brings some dirt and dusty grit; a downright perfect Rose; the monster “jam” sequence is quite frankly outrageous—commencing with a gorgeous He’s Gone which features throbbing, bobbing bass, and a sublime outro jam that’s as smooth as butter; it slowly develops into an almost funk-like deep-groove as Phil takes lead through a bass solo, then he lets loose a rolling bomb and bam! … one of only five TOO > Me And Bobby McGee > TOO this is the last one left unreleased, and is quite possibly the best of the lot! It’s a blistering tour-de-force, a stupendous sequence reminiscent almost of primal, 1969-like Dead. A journey, it runs the full spectrum—in places it’s light, melodic and jazzy, it pauses for breath leaving spaces in the sound, then in turn dark, eerie and dissonant, doubling-down hard with intensity and purpose. It’s all so over-the-top ridiculously great with a madman Phil in superlative form, who seemingly is revelling in lunacy—with a ferociously squalling Tiger Jam, its with monumentally spectacular effect that this TOO literally melts down into pure anarchy with a chaotic and cacophonous racket that is sheer terrifying, before a crack … then seamlessly, the bright shining light of Bobby McGee appears—saddle-up and jump on as this sweet and jaunty, gently-rockin’ country tune takes you by the hand, guiding you out of the darkness to safety—if only momentarily … until being whisked away again, now caught inside the eye of the intense storm, we’re swirling and twirling and tumbling head over heels with tumultuous velocity before … calm; an exquisitely beautiful, deeply ruminative Wharf Rat is an all time, tremendously emotive performance—this is so spot-on, it is dreamy and deliciously heady with an outro to die for. Sheesh; an exhilarating Sugar Magnolia explodes with an exuberant onslaught of rapid wah-wah flurries, and into a gallop that will break your neck and rip your head clean-off; there’s barely time to catch a breather as … to cap it all off, an unhinged and balls-out rockin’ NFA > GDTRFB > NFA whips up into a proper frenzy as it builds to such a breathtaking climax—this one absolutely pumps—an energetic ball of lightning, it’s one hair-raising thrill ride. Spent. No encore necessary. FFS Dave, release the damn thing with a bonus disc of material from the first night. Pretty, pretty please, with a cherry on top! I: Truckin’, Loser, Beat It On Down The Line, Brown-Eyed Women, Mexicali Blues, Mississippi Half-Step Uptown Toodeloo, Black-Throated Wind, Don’t Ease Me In, Big River, Tennessee Jed, Promised Land, China Cat Sunflower > I Know You Rider, Playing In The Band. II: Bertha > Greatest Story Ever Told, Brokedown Palace, Me And My Uncle, Ramble On Rose, El Paso, He’s Gone > The Other One > Me And Bobby McGee > The Other One > Wharf Rat, Sugar Magnolia, Not Fade Away > Goin’ Down The Road Feeling Bad > Not Fade Away.
At the show they got into some space and like they did in the 60s sometimes, were right up to the amps. Then Weir turned around followed by the rest to resume the theme leading up to the verse. The ceiling of the venue was sparkled giving it a night time sky look. It all added to the vibe.
[Music stops / stylus scrapes across vinyl] The 28th over the 27th you say? But there were no Dark Stars....no Attics, or Bird Songs....but your favorite of the year? I admit I have it but have not listened, as I've been waiting for the 1972 Box Set. I can't turn down the recommendation for someone's favorite show of '72 (and there is a Wharf Rat, which was at it's peak for me personally in 1972.
9/28/72 has been top of my DaP wish list since 2/26/77 came out. I believe it is the biggest monster still in captivity.
Yes……it’s a favorite, maybe helped it was one of my earlier tapes. Read @SJR’s review. Love the entire He’s Gone>Wharf Rat……and Wharf Rat maybe my favorite version. It’s that or the recently mentioned piano-dubbed Skull & Roses version.
That was the first attics in almost two years so I was pretty surprised to hear it. They did again a month later I believe before it was shelved for a long time.
IWT for that Boston 94 run, and saw a lot of shows that year. Best I attended was the first Seattle show in June.
Listening to 1971/08/07 San Diego, CA (Dick's Picks Volume 35) for the first time. I always avoid '71 until I can't no more. I always think "but there's like, no jams, man" Then when I listen to some '71, I quickly proclaim: "this is great!" How does that happen? Admittedly, I don't know a lot of '71, but it seems like it's the year they become the classic pre-hiatus band, even more so once Keith gets on board. Summer sounds a lot better to my ears than the early '71 stuff I've heard.
By Summer '71 they settled into the one-drummer configuration and learned how to fly better. Then Keith entered the band, and was as Phil described, the missing piece.
Is the new standalone release of MSG 3/9/81 worth it? Is the consensus that it's a great show to have in your physical media collection?
I don't know if there's a consensus. There have been several reviews posted that it sounds better than expected (for a cassette source) and Jerry's playing is hot.
