I want to try to learn those hyperfast licks that Jerry plays on the 72-74 era versions of PITB. I've read that the jam is in D Dorian, but I'd like a bit more in the way of tab clues. Or at least the range of frets and strings, or the startoff note. Any help with that, I'd be...appreciative. (This is way over my level of technique. But while I'm still plodding along with the basics, when that practice time is over, I like over-reaching. fwiw, I found someone's version of guitar chords and tablature for McCoy Tyner's voicings on Coltrane's "Favorite Things" yesterday, and I'm having fun just trying to voice the chords- sometimes as partials- and playing two or three of them at a time, back and forth. my favorite things jazzy chord changes? Way over my head. It's so subtle, it's ridiculous...I don't know if I'll ever be able to play through it, I mean come on. But I just love the tone colors.)
lol, even Garcia talked about using the effect "so I can sound just like that guy in the New Bohemians who sounds like me." Not to get too deep...
Have you watched the Beat Club film? I haven't for that purpose, it's just as likely the camera is focused on Pigpen or Kreutzmann during Garcia's best licks, but you might be able to get a peek from that.
I haven't done a whole lot of research yet, other than a keyword search. Just laziness on my part. Lack of time to pursue it very far.
What are some of your favorite releases to pick up when you're not in the mood - or have the time for - a full show?
Not "releases" per se, but the 30 Days Of Dead downloads they do every November come in handy. It's a good way to hear something good from a show you might otherwise not check out for whatever reason.
There’s a very special place in my heart for this 11.1.85 show. I was traveling away from my home when Garcia passed away and for whatever reason (that I can’t recall now) it was the one Dead tape I had with me. I remember playing it over and over again that week, digging deep into those Garcia ballads for solace, reflection and joy, that make up such an important part of that show. I try to break it out at least once during “the days between”, as Jerry’s birth and death are commemorated, but your post made me think it was due a listen soon again.
My advice would be to seek out one of the earliest fully-jammed versions from the NYAoM run just prior to E'72. We have commercially-released versions from 3/22, 3/26, 3/27 and 3/28. Of these, I'd recommend the 22nd and 26th to cut your teeth. 3/27 is a bona fide monster best ingested after visiting the musical vomitorium once or twice. Now, as to the nit-picky stuff: the jam isn't "in D Dorian;" rather, the tonic triad is a Dmin and the scale used is a D Dorian as derived from the key of C Major (modal pieces aren't so much in a key as they are derived from a key). But, we all knew what you meant (most of us, anyway). Jerry often plays a string or two lower (in pitch) than many guitarists do and plays well up the neck. In this case, you'll want to focus on a range that spans from the D, 10th fret low E string to a high A, 17th fret high E string. Using the 3/22 version as an example, once the tonality changes to minor, Jerry's likely playing the "theme" as follows (riff starts on the and of 2): E B G D .........10 A 12.12....10h12.12.10....10h12.12.101210 E ...............................................................10 He then noodles around a bit on an E, 14th fret D string before taking things to the higher register. A typical fingering for this general range would be (-> means slide): E .................................................................................15.17 B ....................................................................15.17.18 G ......................................................14.16.17 D ..................................12.14.15->17 A .....................12.14.15 E 10.12.13->15 Of course, there are other options for when to shift positions and you should seek these out in this general range, moving both up and down the scale. For example, if you don't slide up to the G (13->15) on the low E, your overall location will be more focused from frets 10-15 for the bulk of the range I wrote, which might be easier in general, but it makes getting to the high A at the end more difficult. Everything's a trade-off. One thing to note: the location of slides and therefore position shifts is generally not the same when going up the scale as it is going down the scale. For economy of motion, it's often better to change positions in slightly different spots when going up the scale as opposed to going down the scale. Lastly (for now; I'll get to the more complex riffs later), sticking with the 3/22 version, around 3:40, he's doing a variation of the opening riff up the octave. Then just before 3:50, you can hear him really pushing the Dorian thing in the following range (this last graphic utilizes an alternate shifting pattern than the main one I presented above as an example): E .................12.13 B ....12.13.15 G 14 D A E So, get your feet wet with this and I'll be back...
The studio cut really is a killer track. I know intellectually I shouldn't have this opinion but I simply find the studio cuts of Touch Of Grey and Shakedown Street to be unassailable despite plenty of great live versions. Too perfect in all the right ways to me somehow.
09/17/72, Civic Center, Baltimore, MD - Dick's Picks Volume 23 39 minutes of The Other One. Glorious stuff.
Totally agree. Garcia warbling and brain-farting his way through the lyrics of "Shakedown" kills virtually all live versions of that song for me, and the backing vocals never quite hit the spot either. The Buffalo '89 version of "Touch of Grey" is pretty great though.
Brain farting his way thru the lyrics? Nah. A true died in the wool Dead Head would say scat singin' his way thru. There is a difference! Lols.
Agreed. I feel the same about the studio Terrapin, orchestation and all. It’s not a perfect little pop single like “Touch” is, obviously, but it’s g*ddamned EPIC and I never tire of it. The band’s “prog” moment, and (IMO) beats most of the prog I’ve heard.
Yep. Going back to the OG studio versions of yer fave tracks is a nice brain enema cleanse. Quite refreshing and that. So worth it.
20 January 1979- Buffalo. Jerry Moore recorded this one from the 4th row, it puts the listener right in front of the stage. Jerry's playing in set one sounds simultaneously like hard work and sheer brilliance. Dark Star has been a fine soundtrack for the disappearance of the moon into the Eclipse- swallowed by a Dragon, I believe.
