I've been sampling some late '67 this week: - the two officially released tracks from 3 September (Fallout From The Phil Zone, 2001 debut reissue) - the Hollywood Bowl AUD from mid September - the "27 January" AUD from somewhere in September or October (not including that tracks that are duplicates of 22 October) - 22 October (from the 50th Anthem reissue) - 10 November (from 30 Trips) I'll return to "5 May" tomorrow (likely late September-ish) and try 11 November. This stuff is totally without nuance, restraint or patience...but it is very exciting in small doses. After a while it grates - it's just too insistent and repetitive to be satisfying for me long term but it has been enjoyable acquainting myself with late '67. Who knew that they already had their Quick & The Dead tour sound by late '67? Another fun part of listening to this era and into early '68 is when you suddenly find yourself listening to something off Anthem. I found that today from about 15:30 into Caution from 10 November - the next few minutes were used during Caution on Anthem. I can see why - it is a thrillingly spooky part of the performance with Pigpen and Jerry's Black Beauty crying out into the night against the drumming.* *Just on that, the official release says Mickey plays on this but I can't hear a second drummer. I did hear a second drummer on the "27 January" tracks, as lousy as the quality is. Incidentally, everyone raves about the 10 November Alligator>Caution but I think that "27 January" version smokes it - some terrifying stuff in that, whereas, as solid as the whole 10 November show is, I think that have a touch of red light fever. There is more snap, crackle and pop in the "27 January" stuff.
That original version is incredible. I can’t really listen to the Steve Miller Band version anymore. It pales in comparison imo
I saw paul as support for Garcia and Saunders at the great American music hall in august of 74 while visiting my brother. I don't recall much but I did enjoy his set. Billy k was drumming that night and I had a chance for a chat between sets.
Since we were speaking of Franklin's Tower, I want to extend hearty birthday wishes to Ben Franklin, Muhammed Ali, James Earl Jones, Andy Kaufman, Michelle Obama, and the great Robert Fludd. And my mom.
So, the next Road Trips that Real Gone is releasing is Vol. 3, #4 -- 5/6-7/80. Any thoughts on overall set quality, recording, etc.?
"Jack Straw" starts off clunky. Maybe it's the first stanza of the lyrics. I'm OK passing a bottle of wine around, but that's where I draw my sharing line. But it always picks up and gets good. Sometimes real good.
The ending of Half Step is the same chord sequence as Franklin's. Garcia just needed to set a faster tempo for Franklin's.
The kick drum sound, once you hear it, will probably annoy you for the duration of the set. I'm not a huge fan of that release. Not something I come back to often.
Other One > Wharf Rat...wow. Forget about spacey...the boys were crossing over into entirely new dimensions. Thanks for the recommendation. That's one for the ages. 6/22/73 is up next.
When you have the time, head over to 23 November 1973- El Paso, TX. There is some serious trans dimensional stuff going on across the river from Ciudad Juarez.
Been listening on Spotify, can confirm. Feels like early '80s Dead to me. Little slow, Brent's a little plinky, drums are a little thuddy. Probably skip this one.
Thanks - those "tennis balls in the dryer" drum sounds aren't the worst thing I've ever heard, but it's not great either.
That poster is AMAZING. Has anyone done a serious GD show flyer coffee table book? I wonder how many more of these one off or local creation posters are worth seeing.
If you're curious about the shows, I think there are audience sources on the Archive at the correct speed (or at least closer) and better mixed.
Dick's 5 (12/26/1979) -- Seven songs in and Bob Weir is not really my favorite member of the group right now. I now understand the commentary re: his slide playing. And he's just not convincing on something like CC Rider. The cowboy songs are marginally better, but I'm not a fan of the overall sound of the band on those. Good thing the second set looks promising. I gotta say that listening in order of release is really pretty fun. I'm getting dragged out of my comfort zone with a lot of these, and although I do think I'll eventually go back to listening to groups of releases based on date of performance -- getting the broader context is nice -- this is definitely exposing me to stuff I haven't sought out in the past, and there have been lots of pleasant surprises. I'm really digging this Friend of the Devil, but I see the copulating street cats are on deck. I actually do like that song, but I'm afraid right now.
Listened to the 2017 remaster of the debut album. This really sounds nice. I think it is more pleasant than the 2001 version but that isn’t really a fair comparison as that version is a bit of a mishmash - three or four remixed tracks amongst original mixes whereas the 2017 version is the original stereo mix. It’s a very tasteful stereo mix too. I’ll give the mono a listen this evening. The album itself is very enjoyable. I disagree with the band’s criticism of the album as not sounding like them at the time. I think it sounds exactly like they did live in the ‘67 tapes I have heard. Fast and furious. It’s only Golden Road that sticks out because it is much more of a production than everything else. The outtakes from the 2001 reissue are worth a listen. The Lindy and Alice D. Millionaire are pretty dire in my opinion but Tastebud (aside from a fair bit of distortion) and the instrumental Death Don’t are good performances. I think both could have been put on the album (obviously with Jerry recording a lead vocal on Death Don’t) to make it a bit broader stylistically. I guess they and/or the record label were going for something you could dance to. The “edited” Viola Lee Blues on the 2001 reissue is curious. I can’t hear any edits. It sounds like a totally different take than the LP version. I think they did a short version. The jam goes from 0 to 10 really quickly, unlike the LP version and every live version I have heard. I wonder whether it was a vintage mix or modern mix. If it had ever been intended as a single, which seems likely, it surely would have been mixed in mono but is presented on the reissue in stereo. Very odd. Maybe they tried it out as just another short song for the LP at Hassinger’s suggestion but preferred the longer version.
The pre-drums set 2 of 12/26/79 is some of my favorite Grateful Dead music, top 10 easily. Certainly the greatest Estimated break ever (Weir flub notwithstanding).
