Someone recommended some killer 1971 with Phil high in the mix. 5/29 and 8/4. He wasn't kidding. Sounds amazing with that fat and rumbling '71 tone. Much much better than the Texas 1972 show when Phil is also very high in the mix. Check out his playing on Hard to Handle on 8/4. Man!
As I recall, 4/21 Lexington was also a hot show (an Archive commenter who was there believes that they played angry, because they had invited people to come forward to fill the empty seats in the arena, only to see security drag out anyone who took them up on it; in any case, they sound inspired). For the trainspotters: there is a Funiculi, Funicula in the first set, and a Staying Alive jam after drums. Werewolves of London is part of the encore.
I think this is probably what I'm going to do at least in terms of working through May '77. 5/8 was just as great today as it was last month when I listened to it the first time. I won't have time to listen to the whole show tonight, but I'm going to start 5/9 and finish it up tomorrow.
6.9.73 - RFK Stadium, Washington, DC Enjoying the hell out of the matrix recording of this show. It leans towards the SBD end of the spectrum but you get a tremendous feeling of the crowd and what it might have sounded like to be there. I feel like I could listen to the first half of the second set 10 more times, but there's always so much more to explore. II: He's Gone > Truckin' > PITB, Loser, Me & My Uncle, Mississippi Half-Step, Big River, Eyes > China Doll
Been all over the place lately but this afternoon I've gone back to the old standby...05/22/77. Never let's me down. (Dick's Picks 3)
Which is a shame. They also used parts of it on a "Road Trips" set if I recall. That being said there's a SBD of the whole show out there via Charlie Miller. I'm sure it's on the archive. It's really one of those shows that should be listened to top to bottom IMO. Not piecemeal on various releases.
Cornell ain’t the best ... Blue Unicorns were great in ‘89-90. I met a chemist in ‘92, laid lotsa peace signs, purple mostly. We’d trade lotsa things for his crystal wash mop up, usually on Bass beer coasters. Spongey head stash, brah. ‘92-‘93 were interesting years to be me...lololol. We also had a med grade nitrous hook up. I mean...I’ve been some places...lolololol...seen some things...lololol. I miss tour. That StarLake ‘92 “So Many Roads”....man, I’m telling ya it never gets old. So good. It’s the version on Ready Or Not, if you don’t know the show.
Thanks I just checked my notes and I didn’t listen to this show. Like I said I had the intentions of just going through all the official releases which there are many but then started to listen to acclaimed shows and runs. Somehow that one slipped through the cracks thanks.
Now listening to 6/4/78[Santa Barbara California]on TIGDH on SiriusXM's Grateful Dead channel via the webstream now playing Bertha.
Yeah. 5/22/77 is another thread-approved favorite. The full show (DP is abridged) - taped on some kick-ass equipment from a broadcast - is certainly worth your time. A great Help>Slip>Franklin and an even better "Estimated" into "Eyes."
I am organizing some music on my computer and came accross a single mp3 file with an audience recording of Eyes of the World. I'm pretty sure I got the file during the napster days. It is from the Brent Mydland era, and I'm guessing it is either 89 or 90. I can't tell if it transitions into something else as the file I have is abruptly cut off at the end. There is no transition into Eyes. The file is 13:53 in duration. I like it enough to try to find a better version on the archive. I started searching for all versions of Eyes of the World from 1989 and 1990 on deadlists. Is this my best path, or is there an easier way?
Let's see if it was, what do you think? (apologies in advance everyone, I'm just trying to be funny ) Again, I was just chillin in Starbucks spazzing out in my earbuds, lol 6/4/76 – Portland, OR Night 2 in Portland opens with a rocking Promised Land. Tonight's recording is only available as an AUD, but gosh darn is it one of the best of the era! Do a little EQ'ing to bring out the highs and this sounds as good as a certain famous 1971 AUD we all know and love! Up next we get the debut performance of the slowed down FOTD that would serenade us all the way to 1995. This one is very nice as always but there are some slightly rough vocal moments. CHECK OUT KEITH'S AWESOME SOLO AROUND 4:15!!! This is the most I've ever heard him play, I think! It's a lengthy country-inflected piano ride that is just beautifully perfect. And in a heart-meltingly perfect moment, Jerry immediately follows it up with one of the sweetest, most tender and loving guitar solos I've ever heard out of him. It's like being wrapped in a loving embrace by his guitar. Unbelievable solo. After a short break for tech difficulties, Bobby brings us down yonder with a very fun Mama Tried. Keith is doing some great work on this as well and the whole vibe of the song is FUN FUN FUN! The crowd is having a blast, clappign and cheering along throughout, whistling for Jerry's perfect solo. But back to Keith – man he's tearing it up with his barrom/saloon partying on the piano. Just sick. The fun continues on into the first Sugaree of the year. I think this is one of the best years for Sugaree and this one is no exception to that opinion. Maybe it's just me, or maybe the SBD mixes just suck, but Keith is so audible tonight and it's wonderful. I'm not used to hearing him so much. I usually have to actively listen for him, but not tonight! He's right there with the others, front and center on this Sugaree. Jerry gives a nice solo around 4 minutes, but it's nothin' to brag about. The crowd applauds though, lol. Things carry on as usual until 6:45 or so. Things get really quiet and nice. The guys then apply dynamics and bring it to a crashing climax. Boom! Soon after, the song comes to an end. Overall, a good B+ Sugaree. Not the best, but just fine. After telling us all it's Mickey's birthday today, Bobby throws us into Cassidy. It starts really chill, but it quickly builds a head of steam like a good Jack Straw. Donna sounds great. By the first flight of the seabird, it's still not what I would call “hot” by any means though. This Cassidy is chill and taking it's time. It's, just like it's 1974 debut, pretty tropical sounding. But when the jamming kicks in, things heat up quite a bit! Check out Jerry's INSANE solo around 3:45. Just like last night it ends “straight” with no jam portion, but tonight's version is significantly hotter, by far. A fair trade off imo. A heartfelt Candyman is up next. Jerry's vocals are all kinds of great on this one. He's really putting effort into it. There's not much else to say – good stuff. Soon after, the guys burst into Big River at full force. Not as fluid as Brent, Keith gives a still-awesome piano solo. Jerry lays pretty quiet on it for a change. This Big River is fine but it can't compete with a note from last night. The crowd loves it though and goes BONKERS when it's over, lol. A favorite of mine, BE Women, is next. It starts lazily but grows as it continues. Check out that AWESOME AWESOME AWESOME solo Jerry gives around 1:45!!! As with Big River though, it ultimately ends up again being “just fine”. Thankfully, a snappy LL>Supp combo is up next and sounds better, being more on the awake side of sleepy (which this show has been so far). Check out Jerry's really articulate solo around 2 minutes into LL. It's all over the place and is really cool!! Supplication proceeds to give us the first extended jamming break of the evening. The band is pretty hot and Jerry is going nuts with some of the coolest stuff, yo. Jerry's soloing sounds like a Miles Davis trumpet solo from the early 60's or something. That's the best way I can put it. Awesome LL>Supp!!! Bringing us immediately down, we get one of the very rare Mission In the Rain's played only this month and relegated to Jerry Band afterwards. The crowd seems to recognize it though and gives it due applause at the beginning. For as depressing as the intro to this song is, when the proper ballad part begins it makes me feel uplifted and good, like a Sugaree or something. The vocals of everyone sound great and it makes me wonder, as always, why it was abandoned from the Dead's repertoire so soon. Man oh man check out Jerry's spectacular solo around 3:30. JUST FRIGGIN' FANTASTICAL. And when Jerry gives another solo later on, IT'S EVEN MORE SPECTACULAR!!!! This was a short, sweet slice of Jerry-esque paradise right here. Holy hell. Staying with the rain theme, it's the best Bobby song that everyone hates for no good reason. You know the one, I'm not gonna say it. CHECK OUT JERRY AT 3 MINUTES! WHAT IS HE SMOKING TO MAKE HIM PLAY SO PERFECTLY TONIGHT!!!!! Just because of the freaking unbelievable soloing from Jerry, this LLR gets a total 5000/10 stars. For real, this LLR is stunningly gorgeous. This would definitely fit in with the previous show for sure. In an unexpected set placement, Help>Slip>Frank is next. Just like last night, this one is incredibly album-honest in its tone and execution. Fantastic bass from Phil. On Help, Jerry's soloing falls down a couple notches from the extreme artistry of the last few songs, but it's still just fine. Donna, Bobby and Jerry sound awesome singing together. For Slipknot, things start out with a bass solo from Phil, but it never really goes anywhere and is kind of a wasted opportunity. The rest of the band sound like they are phoning it in in the background, almost sounding like they are literally about to fall asleep because of their lack of energy. I haven't mentioned it yet, but despite the positives I've gushed about, this show has THAT vibe about it. The 1976 vibe we all dread. And it's not helping. Again though, Jerry comes and saves the day with some really cool and excellent fuzz-inspired soloing. This Slipknot is 11 minutes, and for at least the first 5 minutes, Jerry is the glue keeping the ship from sinking. This is really disjointed, and not in a good way. I mean, I guess you could say it's cool how they keep the jam going forever, but to me it comes off more like it's just treading water instead of doing anything productive. Never thought I'd say that about a Slipknot. Oh my god guys JUST MAKE IT STOP PLEASE! THIS IS AWFUL! By the end, it's the aural equivalent of what you feel like 7 hours and 30 minutes into an 8 hour shift. Awful. Thankfully, by the grace of god, Franklin's Tower is MUCH better. It's still slow, but unlike Slipknot, the tempo and lazy mood fit this performance to a T. So much better it's not even funny. It never really ends up going anywhere during it's 13 minute duration, but it's at least passably enjoyable, unlike that awful Help>Slip we just had to endure. Ok, that's not true, the last 5 or 6 minutes are actually really good, but it shouldn't take that long to get going. Set two opens with a really nice PITB. It's pretty lengthy and the jamming is striaght up jazz space all the way. No sunshine to be found! Very 1974 and very enjoyable. Jerry's soloing is pretty subtle once more, but he's doing cool in-and-out stuff with his wah pedal. Meanwhile the drummers are going nuts and Phil and Bobby are in sync. Keith is doing some really nice piano arpeggios throughout. It stays about the same until around 8 minutes the drummers toss in the Samson drum beat making us think a segue is near. For better or worse, Samson is restrained and the jamming continues getting ever so slightly more out there. This PITB is a good example of one that's very nice but doesn't really go anywhere. Good background jamming but nothing to write home about. After a drums segment, it's back into a PITB reprise. After a report of some broken bass drums, we slip on into Might As Well. It starts rather slow. I've always fancied this song a sister to Deal. The crowd clapping along the whole time is great. It stays at a lazy pace but it gets quite powerful the longer it continues and Jerry delivers a phantastic solo around 2:50. This one is a steamroller! Also, for some reason, it's giving me a Kinks vibe tonight. I can totally hear this version on Sleepwalker or Misfits or something. Seeking the vengeance they crave, the drummers break out Samson for us and away we go! With the 1976 vibe fully in tact, this Samson doesn't seem as hot as it should be, but just like Might As Well it's a powerhouse once it gets going. Special props to Keith – he's killin' it, mate!!! Up next, in one of the biggest surprises of the year, we get the first Cosmic Charlie since, what, 1969?!?! Talk about unexpected and from out of nowhere!!! It's pretty darn fantastic too. Bluesy and chill in all the right spots. The mixed vocals sounds awesome, particularly Donna, and Jerry is of course on game once more. So after Cosmic, it's on to a pretty fast and energetic Let It Grow. Definitely the “hottest” thing by far! This one is very 1977 sounding to my ears. Unfortunately the AUD takes a dip in sound quality around this time, but this LIG is still WHERE IT'S AT, YO!!! Jerry and the boys are going NUTS!!!! 10 extremely scorching minutes of awesomeness!!! Check out around 5 minutes – Keith is doing some really cool background stuff again. His thing tonight has been making cool rhythm patterns and keeping them repeating instead of outright soloing. Really cool stuff. This Let It Grow is so awesome it would fit right in with the previous godly show. FOR SURE. And like nothing, the drummers get a quick solo spot and before you know it the band turns on a dime and jumps back into action like nothing. THIS LET IT GROW IS FREAKING AWESOME I CAN'T FIND WORDS TO DESCRIBE HOW INCREDIBLE IT IS!!!! And in a total twist of events, the mood does a 180 into a gorgeous-as-all-hell Stella Blue. The tape hiss is really invasive, but the performance is perfection. Jerry's singing is just otherworldly on this one. He's putting EVERYTHING into it!!! Wow. I want this played at my funeral. Damn. Everything I said in bold about Let It Grow applies to this Stella. Just unbelievable and perfect in every conceivable way. This Stella Blue is so mind-alteringly beautiful you'd think every moment of your life has been building to this climax. Born to late to explore the multiverse, but not to late to worship at the feet of this heavenly Stella Blue. CHECK OUT THAT LINE AT 5:50! HAVE YOU EVER HEARD A MORE INCREDIBLE LITTLE RUN FROM JERRY?! I DIDN'T FREAKING THINK SO! The ending is spectacular. The way it just slowly comes to a close like “Over the Hills and Far Away” by Led Zeppelin. So chilltastic. I don't know if it was a loose connection or a low battery or what, but the original sound quality returns immediately following Stella's conclusion as Dancing In The Street gets under way. Sounds like the taper moved location though as the stereo image drastically favors the left side now. Of course it can't compare to the majesty we've just witnessed, but it's still highly enjoyable and fun. Definitely on the level of Samson or Might As Well. This level continues on through a rocking US Blues and JBG encore. Overall, set one was a mixed bag but pretty great for the most part and set 2 was just killer. Great show!
especially heavily dosed the first time hearing it. man i heard some strange **** happening and was like, there's NO WAY they got that on tape and this was a live recording. it was like some sort of strange anomaly that caused the sound and voices to to start morphing around itself and start coming apart like a jigsaw and then somehow brought itself back together. and it was like they knew that they were making it happen and just went right along with it. idk, i had my mind blown and face melted that night. and when that dew hit that was just the icing on the cake! couldn't believe i had actually witnessed that. was probably just hallucinating? but still, man i'm telling you. something magical happened that night. felt like something out of this world. started wondering if maybe they were aliens and were sent or came here to try and promote peace and love or maybe even sent by god himself, because the human race was tearing itself apart and destroying ourselves and our home with wars and hate. then i snapped out of it. but when you think about it the grateful dead and acid did both appear around the same time?... naaa. guess it was all just coincidence.
Listen to the version on Without A Net, is yours faster in tempo or about the same? If it’s about the same then it’s from March 1990 or later. If it’s faster then it’s from earlier. That may help narrow it down a little, emphasis on a little
