Listening to dicks picks 18, February 3rd 1978 Madison WI estimated>eyes>playing>wheel>playing some very nice jamming by all Back of cd disclaimer “Dick's Picks differs from our From The Vault series in that we simply did not have access to complete shows (nor the modern mixing capabilities afforded by multitrack tapes) But we think the historical value and musical quality of these tapes more than compensates for any technical anomalies... In other words what you hear is what you get. And what you get ain't bad!”
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This is pretty much my go-to set for late period Dead, which I don't much care for, but which this set does a nice job of shortcutting through.
Speaking of Cheech Marin, he has a part in season two of my current favorite TV show, Lodge 49. Highly recommended.
Thats one of my favorite scenes in all of cinema. So many great lines in that film. Meanwhile do people talk about the Morning Dew fro 5-2-70 as one of the best of all time? I just listened to that one in the car earlier, to me that's a very compelling rendition, you get the power of the double-drummer acid rock sound, but without the lysergic warble in Garcia's voice. Heartfelt singing, some very inventive soloing on the break and in the closing jam. Now I'm firing up the Bertrando AUD (a relatively new transfer on the archive, from February of this year) of 6-8-77.
Disc 4 is very ballad heavy, which works really well since world-weary ballads is something they really excelled at in the late part of their career.
That was my thought a couple of weeks ago, which is why there is now a pitch-correced version circulating
You'll have to talk to @Archtop. In his worldview all the great versions of Morning Dew occurred in the 80's. 5.26.72 and 10.18.74 have demanded a place at the table.
I might have to try to listen to the '80's Dews more, because I've always felt they all pale next to many from the '70's. BTW, let's not forget 9/10/74.
That one gets my vote, though I'm biased towards that particular day on the calendar. I'd say the attention that some of the 1969 + 1970 versions don't get but should ought to skew the calculus closer to the 70s than the 80s. I would bet that a lot of the acclaim that goes to the later versions has to do with Phil's access to deeper parts of the lower end, with his use of six string basses. (especially in the case of @Archtop.) He does a lot of double stops and chords in that Harpur College tape, but they're not really bombs like he pulls in the 80s.