I get that. Just assumed there would be some kind of bypass involved unless it was a case of having a mic in front of Jerry’s speaker, in which case you can expect it to sound crap.
Assuming someone noticed, harder to tell something like that live at the show unless it was completely blown. Assuming it was only one speaker in his cabinet, moving the mic to a different speaker would have been the likely solution. In this shot, the 2nd speaker from the top (of 4 in the cabinet) is the one being miked.
When they started playing Soldier Field in the 90's, there was a green light tower in the lot just south of the stadium, where we set up as a meeting place -- every hour on the hour someone from our group headed there to find our other friends coming to the show. It always worked out great.
Ladies and Gentlemen...the Grateful Dead (4/25-29/71, Fillmore East) It was a really big deal when this came out, given this run’s standing in the GD canon, its historical significance (the closing of the Fillmore East) and the multitrack sources used for mastering. I’d had a good copy of 4/29 by that point, but the rest was new to me and had a major impact, since '71 was a generally under-represented year in my tape collection. Notes & Highlights: The sound quality from the multitracks is stunningly vibrant -- such perfect definition, separation and dynamics. Easily one of my top two or three archival releases from a production/mixing standpoint. The first disc is almost entirely great, minus the sloppy Bertha. Love the slower Truckin’ opener, such a swampy groove with Pig’s organ underneath. Other highlights include Next Time You See Me, the rare electric Dark Hollow, a swinging Second That Emotion and galloping Cumberland Blues. Don’t really need the extended Good Lovin’ rap...definitely a bit incongruous to hear Pig’s raunchy ravings over the pretty lines Jerry’s laying down. Loser, The Rub, King Bee and a super-rare electric Ripple highlight the second disc. El Paso really drags; fortunately they picked it up and incorporated the running Jerry lead in later versions. I’m with Al on the Lovelight -- I’m sure it was great to see live, but the Pig rap just gets tiresome outside of the being-there context. China > Rider has found its footing by this point, and the performance that opens the third disc is a hot one with some nice soloing before the transition. It’s great to hear Jerry rip some traditional blues on Hurts Me Too and Sing Me Back is an achingly emotional version that rivals Veneta in its impact. Hard To Handle is good, but it’s...hard to handle (oy, sorry) another version after hearing 8/6/71. Dark Star starts off a bit sluggish but picks up the intensity around 9 minutes in; Bob especially plays some interesting stuff during this stretch. St. Stephen is a little sloppy, but the NFA >GDTRFB sandwich is a rollicking good time, even if it’s a bit on the brief side. Disc 3 is arguably the best in the set, and starts with a typically hot Dew (early ‘70’s variant). It’s a hoot to hear Minglewood (not normally one of my favorite songs) in such a raw garage-rock form. The big sequence from 4/29 is a gas, with a fun jam coming out of drums and moving smoothly to (another) GDTRFB before going into Rain and Snow. When I first got this, I hadn’t heard enough to know that this was an unusual occurrence, but it caught me by surprise upon this revisit and is a nice change-up. A smoking hot performance of Casey Jones with an insane climax ends the set, and the double encore of Midnight Hour and Goodnight comprise a perfect end to an incredible comp. As others have detailed, this is as complete a document of this run that we’re going to hear in this fidelity, given the unfortunate history of the original multitracks. Not much more to say that hasn’t already been said about the importance of this release; definitely a cornerstone compilation and one that was a blast to revisit.
In our case, none of us had ever been to this venue before. I had my Chicago friends pick a meeting spot and then call my work number (toll free) and leave a voicemail on my extension. I could then call in toll-free and get the message. This was a big deal in 1990. Otherwise we probably would have met at the Will Call window, which was sort of the default.
Will call was our default at most venues. The Rocky statute at the Spectrum was an example of a more venue-specific meeting spot.
Falling behind a bit. I gave View a miss, and am listening to DiP18 now. Discovered it only recently after it was being discussed in the Grateful thread. As for L&G: awesome set, played it many times (Skull & Roses is also a personal fave). Was very happy to acquire it second hand at a fair price.
This shows are a bit hyped out in this regard... GD were NOT closing the Fillmore East (like I thought for some time), but this were the last shows that they played there. Fillmore East was closed by Allmans on June 26-27 th 1971, so it bears repeating That notwithstanding, this is top shelf material, tasty performances all around. I haven't heard this stuff for at least 2 years and I am still preparing my review. I don't do week by week listening for most of the stuff (I use some old notes when possible), but for Ladies and Gentelmen I had to do some fresh listening. I managed to listen through 2,5 discs only this week. I didn't have enough appropriate moments to really delve in, hope I'll have a quality listening time today. Anyway, what can I say is that this stuff is even better than I remember !
If I'm in '71, I prefer the Summer and Fall. They're a sharper, more dynamic group later in the year, and certainly by the Spring of the next year. The Dead in August will cut you if you're not careful. The band on L&G sounds to me like they're still working out a new sound, finding their way with just one drummer. Some good passages here, but I wouldn't choose the set to show off the capabilities of the "saloon band," much less why I think the Dead are the most awesome rock band to ever take the stage. You know, if you want the really primo "Dark Star" and "St. Stephen" or a jam out of "Alligator," you have to go backwards or forwards in time. These are fine, but don't knock me out. In fact, my wife just came in while "St. Stephen" was playing, and I had to fight the urge to switch to something else that's more likely to impress her. The band on DiP 18 is what the April '71 Dead ultimately wanted to be. If a Classic Rock fan on the forum was looking for tips on getting into the Dead, I'd say that's one of the more likely gateways. It's just too bad that it's not a general release, a permanent part of the CD catalogue. Maybe that's not such a big deal in the streaming/download age, but still it would be nice if you could just go to your favorite retailer and buy a new copy at a reasonable price.
Ladies and Gentlemen... The Grateful Dead: Fillmore East, New York City, April 1971 This was one of my cornerstone releases when I was in the phase of expanding the Dead collection beyond the basic discography. It sure got a lot of playing time in my house. Because I wasn’t spinning it for years, I gave it a fresh listen now. And well… This stuff is even better than I remember! I always loved the first disc and it still holds up. Highlights abound. This got to be one of my favourite Truckin’s. Jerry’s guitar sounds just right and the post-verses solo got stuck in my head ever since I first heard it… Those quirky double stop bends over a driving Phil bass lines – it doesn’t get much better than this! And what was it that made Bobby crack during one of the verses? This is FUN! Sense of joy pervades all performances. Next Time You See Me can just be your typical Pigpen blues number, but here it’s performed with a gusto. Bird Song is far from a developed ’72 - ‘73 form, but it is still somehow special. And Good Lovin’ is a jamming highlight. I especially love the Second That Emotion cover and Jerry’s piercing solo: this rendition highlights the majestic, soaring “Peanut” tone. MAMU, Cumberland… all great! I used to remember that in the past I liked 2nd CD the least. This time around I really could not find anything to complain. Only dud is El Paso, it’s too slow and it is a drag. Also Ain’t It Crazy is fun, but that’s about it. The rest of selections are really great. You get a rare Ripple…. And this Lovelight is a glorious one, dare I say it one of my favourites, up there among Live Dead, 8/6/71 and 5/7/72 ones (from the top of my head). It is never boring and also there is plenty of jamming with no raps. And by jamming I mean top tier grooving and soloing. This stuff is fantastic. You just need to ignore Pig’s flat singing. 3rd CD shall be a strongest one on paper, and it just might in fact be true. China > Rider again highlight glorious Jerry guitar tones, this stuff is really a joy to listen to. HTH feature Pig’s flat notes again, but that notwithstanding, it is a rather remarkable rendition. I mean, I really ALWAYS love any ‘71 HTH. If anything, this is HTH year! This Dark star is not something I’d put in the pantheon of the greatest ones, but it is still remarkable in its own way. Too short though. From Stephen to the end, it’s all good but I must admit nothing special is going on here. A side note: mix is great and you can hear every little ting anyone is playing... Which benefits Bob's guitar of course. 4th CD is again fantastic though I’d call it somewhat overrated (based on all the musings around the jam sequence). It’s strong, true, but I would not characterize it as being the best part of this release. For me it is on the same level as the rest of material. Dew reaches a very solid climax and I welcome Pig’s organ contribution; it’s just about right. Minglewood is great, and I prefer the early versions to later ones by a mile anyway. Post Alligator jam may be somewhat overhyped, though it really does contain some extraordinary stuff, primarily during first couple of minutes. Peak Dead right here. Anyway as I said, this was one of my core archival releases, but I also must say I never did regard it as a truly peak, top, clear 5/5, mega-exciting, essential release, like I would say some of the others warhorses that got me absolutely gobsmacked, like Sunshine Daydream, Europe ’72 vol. 2, Steppin' Out or Fillmore West ‘69 comp, just as a few examples. I also slightly prefer Summer of ‘71 to the spring. Further, this release does not contain an essential mammoth Dark Star, and there is no Other One at all. Generally there are no truly transcendental musical peaks that the Dead can otherwise so frequently pull of. But maybe this is not a fair comparison, as this period was so different to say 72-74, just for example. Still, very, very enjoyable as energy and joy is more than palpable, and there are glorious Gibson guitar tones all around. I’d call this release essential based just on this already. Add to all that excellent sound, and you clearly have one more essential GD release. A must-have and one of the top choices for a healthy dose of 1971. Overall rating: 4.3/5
I can feel what you are saying and from where this comes from,. I can agree with this, but only to some degree. I would characterize February Port Chester run with your very words, while I consider this April run to be on a much higher level than Port Chester. And I can already hear much of a Summer '71 energy in this performances.
I forgot to highlight UJB from the 2nd disc... One of top renditions I must say. Totally on point. That guitar chords ping pong between Bob and Jerry is some head(v)y stuff!
Bush-league Deadhead here. Admittedly, aside from growing up with Skull & Roses, and later on, the transcendent Dick’s 2, I haven’t paid much attention to 1971 in the past. So I’m really digging into L&G for the first time in a meaningful way, and I got to say, I’ve been missing a pretty cool period here. I used to skip El Paso more often than not. On L&G, for the first time, El Paso sounds right to me, and now I actually like the tune. Some of you have said it’s too slow, and I respect your opinion, but something about the tempo and groove has me finally engaging with the tune, it works for me. I’m now going to spend quality time with Dick’s 35, and the various Road Trips and Download Series from ‘71. Thanks to you all!
Ladies and Gentlemen was like the net that caught me after the hook of Hundred Year Hall. I haven't listened to it in ages but it's all so nice and pretty and perfect.
I would agree that April > February '71, and they are building up to a Summer '71 energy here. It's not bad, but I think it has been put on a pedestal just because it's multi-track, it represents the band's last run at Fillmore East, and it's essentially a box set of outtakes from the official live album of the day, which has been a gateway for many fans over the past 50 years. Fwiw, I also prefer some of the pieces here to most of Skull & Roses, but neither of them rate among my favorite Dead releases.
I totally agree about this El Paso! It's my favorite version. I played this version for my father way, way back in the day (mid-80's). He was a big Marty Robbins fan and I honestly think he was genuinely impressed. Garcia's lead is brilliant. It's a model of tasteful, unobtrusive accompaniment. Weir's vocal is passionate and convincing. It's obvious how much he loves the lyrics. I hear the tempo as a slow burn, rather than a drag. Someone posted this version on YouTube with accompanying artwork. I think they did a pretty nice job of it [rollinthunderoad]. I'm having a great time rediscovering this release. It's as good or better than I remember!
This is like totally cool, there is no right or wrong here. What works for one, doesn't have to work for the other. I personally prefer faster El Pasos, with turbocharged Jerry Big River style. But like you, I am definitively not always in a mood for El Paso. And maybe one day this very one from from L&G would click the right way.
Clickable thread guide List of releases By Release Date One from the Vault (1975-08-13 San Francisco, released 1991-04-15) Infrared Roses (1989-1990, released 1991-11-01) Two from the Vault (1968-08-24 San Francisco, released May 1992) Dick’s Picks 1 (1973-12-19 Tampa, released 1991-10-31) Dick’s Picks 2 (1971-10-31 Columbus, released March 1995) Grayfolded (1968-1993, released 1994 and 1995) Hundred Year Hall (1972-04-26, released 1995-09-26) Dick’s Picks 3 (1977-05-22 Pembroke Pines, released 1995-11-07) Dick’s Picks 4 (1970-02-13, 14 New York, released 1996-02-23) Dick’s Picks 5 (1979-12-26 Oakland, released 1996-05-30) Dozin' at the Knick (1990-03-24 Albany (mostly), released 1996-08-29) Dick's Picks 6 (1983-10-14 Hartford, released 1996-10-07) Dick's Picks 7 (1974-09-09, 10, 11 London, released 1997-03-04) Dick's Picks 8 (1970-05-02 Binghamton, released 1997-06-14) Fallout from the Phil Zone (Various, released 1997-06-17) Terrapin Station Limited Edition (1990-03-15 Landover, released 1997-09) Dick's Picks 9 (1990-09-16 New York, released 1997-10-19) Live at the Fillmore East 2-11-69 (1969-02-11 New York, released 1997-10-28) Dick's Picks 10 (1977-12-29 San Francisco, released 1998-02-26) Dick's Picks 11 (1972-09-27 Jersey City, released 1998-06-09) Dick's Picks 12 (1974-06-26 Providence, 1974-06-28 Boston, released 1998-10-15) Dick's Picks 13 (1981-05-06 Uniondale, released 1999-03-05) Dick's Picks 14 (1973-11-30 Boston, released 1999-06-18) Dick’s Picks 14 (1973-12-02 Boston, released 1999-06-18) Dick's Picks 15 (1977-09-03 Englishtown, released 1999-10-18) So Many Roads (Various, released 1999-11-07) Dick's Picks 16 (1969-11-08 San Francisco, released 2000-03) Dick's Picks 17 (1991-09-25 Boston, released 2000-04-28) View from the Vault 1 (1990-07-08 Pittsburgh, released 2000-06) Dick's Picks 18 (1978-02-03 Madison, 1978-02-05 Cedar Falls, released 2000-06) Ladies and Gentlemen (1971-04-25...29 New York, released 2000-10-10) By Concert Date Various (released 1994 and 1995 on Grayfolded) Various (released 1997-06-17 on Fallout from the Phil Zone) Various (released 1999-11-07 on So Many Roads) 1968-08-24 Los Angeles (released 1992-05 on Two from the Vault) 1969-02-11 New York (released 1997-10-28 on Live at the Fillmore East 2-11-69) 1969-11-08 San Francisco (released 2000-03 on Dick's Picks 16) 1970-02-13, 14 New York (released 1996-02-23 on Dick's Picks 4) 1970-05-02 Binghamton (released 1997-06-14 on Dick's Picks 8) 1971-04-25...29 New York (released 2000-10-10 on Ladies and Gentlemen...) 1971-10-31 Columbus (released 1995-03 on Dick's Picks 2) 1972-04-26 Frankfurt (released 1995-09-26 on Hundred Year Hall) 1972-09-27 Jersey City (released 1998-06-09 on Dick's Picks 11) 1973-11-30 Boston (released 1999-06-18 on Dick's Picks 14) 1973-12-02 Boston (released 1999-06-18 on Dick's Picks 14) 1973-12-19 Tampa (released 1993-10-31 on Dick's Picks 1) 1974-06-26 Providence (released 1998-10-15 on Dick's Picks 12) 1974-06-28 Boston (released 1998-10-15 on Dick's Picks 12) 1974-09-09, 10, 11 London (released 1997-03-04 on Dick's Picks 7) 1975-08-13 San Francisco (released 1991-04-15 on One from the Vault) 1977-05-22 Pembroke Pines (released 1995-11-07 on Dick's Picks 3) 1977-09-03 Englishtown (released 1999-10-18 on Dick's Picks 15) 1977-12-29 San Francisco (released 1998-02-26 on Dick's Picks 10) 1978-02-03 Madison, 1978-02-05 Cedar Falls (released 2000-06 on Dick's Picks 18) 1979-12-26 Oakland (released 1996-05-30 on Dick's Picks 5) 1981-05-06 Uniondale (released 1999-03-05 on Dick's Picks 13) 1983-10-14 Hartford (released 1996-10-07 on Dick's Picks 6) 1989, 1990 (released 1991-11-01 on Infrared Roses) 1990-03-15 Landover (released 1997-09 on Terrapin Station Limited Edition) 1990-03-24 Albany (mostly) (released 1996-08-29 on Dozin' at the Knick) 1990-07-08 Pittsburgh (released 2000-06 on View from the Vault 1) 1990-09-16 New York (released 1997-10-19 on Dick's Picks 9) 1991-09-25 Boston (released 2000-04-28 on Dick's Picks 17) This week: 1973-10-19 Oklahoma City (released 2000-10-23 on Dick's Picks 19) Next week: 1976-09-25 Landover (released 2001-01-23 on Dick's Picks 20)
Dick's Picks Volume 19 Recording date: October 19, 1973 Recording location: Fairgrounds Arena, Oklahoma City, Oklahoma Release date: October 23, 2000 Recorded by: Bill Candelario Disc 1 First set: "Promised Land" (Chuck Berry) – 3:44 "Sugaree" (Jerry Garcia, Robert Hunter) – 8:18 "Mexicali Blues" (Bob Weir, John Barlow) – 3:58 "Tennessee Jed" (Garcia, Hunter) – 8:00 "Looks like Rain" (Weir, Barlow) – 8:05 "Don't Ease Me In" (traditional, arranged by Grateful Dead) – 4:24 "Jack Straw" (Weir, Hunter) – 5:32 "They Love Each Other" (Garcia, Hunter) – 5:44 "El Paso" (Marty Robbins) – 4:51 "Row Jimmy" (Garcia, Hunter) – 9:23 Disc 2 "Playing in the Band" (Weir, Mickey Hart, Hunter) – 18:23 Second set: "China Cat Sunflower" (Garcia, Hunter) – 9:11 > "I Know You Rider" (traditional, arranged by Grateful Dead) – 6:18 "Me and My Uncle" (John Phillips) – 3:34 "Mississippi Half-Step Uptown Toodeloo" (Garcia, Hunter) – 7:30 "Big River" (Johnny Cash) – 4:52 Disc 3 "Dark Star" (Garcia, Bill Kreutzmann, Phil Lesh, Ron "Pigpen" McKernan, Weir, Hunter) – 15:45 > "Mind Left Body Jam" (Grateful Dead) – 10:41 > "Morning Dew" (Bonnie Dobson, Tim Rose) – 13:55 "Sugar Magnolia" (Weir, Hunter) – 10:10 First encore:"Eyes of the World" (Garcia, Hunter) – 14:31 > "Stella Blue" (Garcia, Hunter) – 7:57 Second encore: "Johnny B. Goode" (Berry) – 4:08 Some shows just ooze that special x-factor, and this is one of them. From the first Chuck Berry notes to the last, there’s something magical about this concert. The opening Promised Land is bursting with energy. While it’s not explosive, Sugaree shows Jerry at his melodic best, and even relatively minor songs like Looks Like Rain and Don’t Ease Me In are played with genuine enthusiasm. But the set’s obvious highlight is Playing in the Band, a beautiful exploration of the song’s possibilities, and a great way to end the set and prepare the audience for the music still to come; it’s a special version. The whole first set is one of the year’s best, one where the band is clearly enjoying the music. The second set gets right to business with a fine China>Rider; Bob’s playing is superlative here, even in his little linking solo, and Keith’s lending a lot of fine support. Mississippi Half-Step is simply superb. But it’s what follows that puts this show over the top. While it’s not the longest of the year, Dark Star is exquisite; it’s melodic with various themes and never lacks for variety and interest yet it stays focused. It’s truly one of the year’s musical highlights. After the first (and only) verse there’s a slow Phil-led section that fits right in. The music picks up again and leads into one of the best examples of the famous Mind Left Body Jam; the band is playing as one many-limbed entity here. This finally turns into the expected meltdown, very reminiscent of a1969 Feedback. Out of the ashes Jerry picks out the opening to Morning Dew. It’s a slow, powerful version with a pair of spine-tingling build-ups. After this, Sugar Magnolia is almost an afterthought, but a fun one (although the end goes on too long). A generous encore includes a fine Eyes of the World and a strong Stella Blue, a perfect exclamation point on this show. The show ends like it began, with a lively Chuck Berry number. Of note, it’s the first complete 1973 show released (and the only one in the Dick’s Picks series). It’s also the first of the beloved lightning-bolt series of covers; it includes a little booklet with concert photos of the band. Except for some of the infamous vocal softness and sibilance, sound quality is excellent. More than 20 years after its release, this remains a definitive entry in the Grateful Dead catalog, a first-rate concert from start to finish. Anybody who likes the one-drummer era should certainly give this key release a listen.
Dicks Pick’s 19: 10/19/73, Oklahoma City Dick (and TPTB by extension) loves ‘73, a year that was represented just a mere five Picks ago; at this point in our odyssey it’s tied with ‘77 for the most represented year in the series. Not that I find fault with that -- as we all know, it’s one of the best years, and I’ll never be mad to get my hands on another new-to-me ‘73 (and a full show at that!). Notes & Highlights: Outside of the expected and occasionally distracting vocal sibilance, the recording is excellent; it certainly has more life and definition than DiP 1 and 14, especially in the higher frequencies. For me, the only issue of substance is the mix: Jerry’s guitar is panned to the left, and Keith is in the middle...kind of a bummer that those positions weren’t switched. The first set is consistently well-played throughout, with a pretty Sugaree, a nearly perfect fast TLEO, some nice twangy soloing in Tennessee Jed and focused-for-’73 Playin’ which is light on meandering exploration and mostly keeps the foot on the fusion pedal. A crisp China > Rider in the set-opening slot is usually a sign that something special is on the way. After Me & My Uncle, a nice Half-Step and a cooking (but brief) Big River, it arrives with Dark Star. It’s good, even if it sounds like they can’t quite decide where they want to take it (which can be interesting in and of itself, as it is here), but the Mind Left Body jam that flows out if it is a thing of beauty. There’s a nice stretch of playing after the Dark Star verse (love Keith on Rhodes here) before Bob starts the progression, and they get in some sweet jamming over it for a few minutes before a patented ‘73 meltdown. The dissonance is kept relatively brief, with more of the focus on the patient and seamless transition into Dew -- a typically excellent and dynamic conclusion to this highlight sequence. I’m not sure I’ve heard a show with a triple encore before: no curfew? More time left than they thought? The regulation-length Eyes > Stella is a more than welcome surprise addendum to the set and puts it over the top; I can’t ever remember hearing Stella in that spot before. While DiP 19 doesn’t quite crack my top 5 or so shows from ‘73 (or really even the top 5 official releases from that year, given what’s been put out subsequently), it’s solidly in the muddled and well occupied second tier of great ‘73 shows that are worthy of release and repeated listens. Revisiting it was like catching up with an old friend I haven’t seen or thought about in a while and being reminded of what made us click in the first place. Absolutely worth hearing.
Some brief notes I previously posted in The Grateful Thread— Dick’s Picks #19 — Fairgrounds Arena, Oklahoma City, OK, 19/10/73. Top-to-bottom, this is 1973 Dead goodness, with a particularly majestic 2nd set. It’s all really great, and rather essential listening—but some particular standouts are: 1st Set: They Love Each Other — an extra bouncy, swingin’ and groovin’ version. Love it; Playing In The Band — a super spaced-out and dream-like, jazzy end to the 1st set. 2nd Set: China Cat Sunflower > I Know You Rider — bouncy and energetic vibes here, riding along on a wave of positivity with an effortlessly sweet transition jam; Dark Star > Mind Left Body Jam > Morning Dew — this whole sequence is phenomenal. It’s slow, jazzy and blissfully melodic, with a gorgeously psychedelic MLB Jam. The show highlight; Eyes Of The World > Stella Blue — again, there’s that ‘73 sound; a beautifully jazzy and breezy encore with a stellar outro jam segueing into a pretty, perfect Stella Blue. I: Promised Land, Sugaree, Mexicali Blues, Tennessee Jed, Looks Like Rain, Don’t Ease Me In, Jack Straw, They Love Each Other, El Paso, Row Jimmy, Playing In The Band. II: China Cat Sunflower > I Know You Rider, Me And My Uncle, Mississippi Half-Step Uptown Toodeloo, Big River, Dark Star > Mind Left Body Jam > Morning Dew, Sugar Magnolia. E: Eyes Of The World > Stella Blue, Johnny B. Goode.
