The Grateful Thread

I just don't think the arrangements or solos are very interesting.

 

I think this is the show where a Deadbase reviewer mentioned Keith's piano lid slamming shut during this song with a huge boom going over the PA.

 

The horns were a nice idea. Not sure if the Dead found the right players to bring the idea off, and they probably needed to rehearse more.

The September 1973 shows do still have some fine GD songs without the horns.

 

10-20-89 - Thirty Years Ago Today. Second set is definitely worth a listen (first probably is, too).

Hey Pocky Way
Scarlet Begonias ->
Fire on the Mountain
Truckin'
Other One jam (14+ minutes!) ->
drums/space ->
I Will Take You Home ->
The Other One (another 10+ minutes) ->
Wharf Rat ->
Sugar Magnolia
e: Brokedown Palace

Really firing on all cylinders here, great solos jumped out at me from "Wharf Rat" and "Brokedown" in particular but it's all nice.

 

Well, I'll grant you that they aren't overly impressive, but I don't think that they really detract from otherwise good shows; certainly not to a degree that would seem commensurate with some of the opinions of those shows. I think it was really a case of "The Doug Sahm Band is opening for eight shows, we have some horns on Wake of the Flood, Jerry knows Marin Fiero so let's just use them." Very typical of the Grateful Dead; if it seems like a decent idea, run with it - no rehearsal needed.

 

Yeah, it makes sense if they were already on tour with the Dead anyway. I didn't realize that until reading that article you posted. I'd always been puzzled about why they would go to the trouble of bringing horn players on tour with them and then not work up anything a little more interesting for them to play.

I do recall enjoying 9-11-73 very much but overall, I'm of the opinion that any horn player who takes solo time away from Garcia is almost never "worth it", whether it's Fierro in Legion of Mary or Clarence Clemons with the JGB in 1989. Exceptions for some jazz players like Branford, Ornette or David Murray, who could really hang with the Dead.

 

Agreed, but I also believe that it just takes people outside their comfort zones, and that will always result in criticism. I've only heard parts of these shows and need to listen to a couple in their entirety. While they are awkward in spots, they catch fire in others and are cool outliers in the catalog.

 

2/28/69 Fillmore West. Currently in the midst of Dark Star > St. Stephen > The Eleven > Death Don’t Have No Mercy at a healthy volume, which is a good thing. I was going to start the sequence with That’s It For The Other One but I’m going to hit the 3/1/69 version next instead.

 

72 is my favorite Dead year and sometimes I too often give short shift to 71.

For example, I’ve been holed up in my house this week because of a hurt leg, and I decided in between my deep dives into the Giants Stadium box (and The Ramones It’s Alive and ‘Mat’s Dead Man’s Pop boxes), I was going to mix it up year-wise and dig back through 30 Trips.

I recall my first couple of times through 30 Trips thinking 3.18.71 (St. Louis) was only pretty okay. This time through I was really digging it. The jam sequence from “Truckin’” on thru “The Other One” to the “Uncle John” is quite great, including a rare 71 “Caution” and a subtle feedback transition. I played it through a few times. It’s a quite an outstanding set and the show sounds really really good. The newer shorter songs show 71 as the transitional year it sometimes seems, but that jam is real inspired quality.

And on a side note, another one from 30 Trips that jumped out more than I recall as super strong is 4,25.77. The jam out of “Wharf Rat” is long, unique and fantastic. Great “Terrapin”>”Playin’”. Keith adds great syncopated playing to a lot of this, including interesting enough on “Sampson”. Lots of other nice Dead teamwork. And kinda cool to hear what will became the big 77 sound as it moves outta the more relative “intimate” Capital with some subtle flourishes on the first set songs and the “Playin’” jams. Excellent 77 show.

And 7.3.88.... well I’ll stop there for now. Though just long enough to say 30 Trips is pretty damn inspired and inspiring.

 

I like music that takes me out of my comfort zone.

 

Been making my way through the winterland farewell shows. It’s sort of a mess wading through the different sources, 2 track vs multi mix downs, bear’s mix vs others etc. but enjoying it all. Even enjoying the mono aud tape from the first night (any other auds worth it?).

Dark Star > Morning Dew is everything.

 

This isn’t news but the 3/1/69 That’s It For The Other One is hot! As a side note when Cosmic Charlie started a few songs later for a moment I thought they were going into Revolution.

 

I listen to The Beatles about 5 to 10 times a year. When I was a teenager I listened weekly and absorbed the music permanently into my grey matter.

 

20 October 1974- WInterland.

"And now Ladies and Gentlemen, here he is the 43 year old Perfect Master: Mr. Bill Graham."

~ Bob Weir

 

Kinda thought you'd say that.

 

I have an odd work schedule and usually have the mid-week off (Tues/Wed/Thurs). Champion’s League is on Tues/Wed, so it works out perfectly as early afternoon entertainment.

 

But hey at least we got "Hey Jude"

 

Well then, death metal, hip-hop and polka would be perfect for you!

 

Been working my way through '82 right now. Surprisingly enjoyable. 4/3 is as interesting as it gets. A nice, shuffly Eyes of the World in the middle of a meandering, spooky second set. Highly recommended.

On the other side of the coin, Bobby's 4/11 performance of Beat it on Down the Line might be as terrible performance of a Bobby standard as I've ever heard. Those "ha!" vocal bursts he became so fond of sure are grating.

 

And CAN

 

Anniversary listen of my favorite Jack Straw from my alma mater - 10/20/84 from the Carrier Dome at Syracuse University. Super high energy!

 

Yeppers. I've recommended this show many times over the years. Not only is it great, it's got really distinctive versions of a lot of standard setlist songs. E.g. the version of "Eyes" is really quite distinctive, as is the Scarlet>Fire transition.

 

Exactly. It's so strange, because it sounds like nothing before, nor after. Second show that Jerry switched sides with Phil, might have been a part of it.

 

I said out of my comfort zone, not into the spirals of deep depression and seppuku.

Ignore list.