Friday, April 21, 2017

Best Audience Tape Only Show Ever, November 8, 1970

November 1970
East Coast
Electric 2

Here is one of those remarkable shows, it gets many votes as the best ever; 
if a vault tape appeared 47 years we would all rejoice. There are the way-fun versions of New Orleans and Searchin' and an all-time version of Morning Dew, Mystery Train-> My Babe, and Truckin'-> Dark Star-> The Main Ten-> Dancin' In The Streets.  Just heady, heady stuff.
Ok, Kevin Nelson reminded me that 6-24-1970 is Godhead as well so there might actually be 2 or 3 "best" audience tape only shows from the Capitol in 1970

This show has been covered and covered by the best Dead historians 

GD Acoustic Set
01 crowd & tuning
02 Dire Wolf
03 I Know You Rider
04 Dark Hollow
05 stage banter (King Kong vs. Godzilla)
06 Rosalie McFall
07 El Paso
08 Operator
09 Ripple
10 Friend of the Devil
11 Wake Up Little Susie
12 Uncle John's Band

Disc Two

01 crowd & tuning
02 Six Days on the Road
03 Superman
04 Whatcha Gonna Do
05 Glendale Train
06 All I Ever Wanted
07 Fair Chance to Know
08 Portland Woman
09 Cecilia
10 Truck Drivin' Man
11 Last Lonely Eagle
12 Louisiana Lady
13 Honky Tonk Woman

Disc Three
GD Electric Set-a
01 tuning & crowd
02 Morning Dew
03 Me and My Uncle
04 Mystery Train >
05 My Babe
06 Around and Around
07 New Orleans >
08 Searchin'
09 It's All Over Now, Baby Blue
10 Casey Jones

Disc Four
GD Electric Set-end
01 Truckin' >
02 Dark Star >
03 The Main Ten >
04 Dancin' jam >
05 Dancin' in the Streets
06 Not Fade Away >
07 Goin' Down the Road Feeling Bad >
08 Not Fade Away >
09 Drums >
10 Good Lovin' >
11 Drums >
12 Good Lovin'

- - - - - - - - - - - - - -

Spanish Jam

The Grateful Dead: The Year of The Dead

Lenny KayeFusion, 14 November 1969
THE GRATEFUL Dead are on the way up. But whether it be from a growing musical acumen on the part of their audience, a starring role in Tom Wolfe's Electric Kool-Aid Acid Test, or simply that they are one of the only living reminders of the Summer of Love, nobody can really say for sure. The only thing that does seem sure is that suddenly (?) great gobs of people have turned on to the group, giving them a series of packed houses, screaming audiences and fans whose devotion borders on the mystical.
I doubt if even the Dead themselves could give you a reason why. Whatever it is, it certainly didn't take much to prove the point to the overflow crowds that jammed The Tea Party during October's first weekend. By the third number, the audience was invariably on its feet, if not dancing, then at least rhythmically swaying throughout the set.
Dead music is unlike any other, and thus brooks no comparisons. They have a magnificent texture, layers upon layers of lead riffs coagulating over each other, coiled, nearly a form without a form. On stage, they are loose almost to the point of nonchalance, switching off instruments, resting while the song runs through its changes. They encompass all varieties of music, from Jerry Garcia country to Pigpen blues to somewhat 5/4 jazz.
If you need a word try Flow. There is nothing calculated about a Dead performance. There is lots of searching, lots of trying this or that, lots of times when the song lays down and waits for someone to tell it where to go. On Saturday, they meandered around for close to half an hour, finding something, losing it again, finally coming around ever so slowly to catch a piece of Anthem of the Sun. You can feel the group relax when they hit the mainline, watch them settle in, know that it's now just a matter of time until the energy beams connect and things rise lust another level.
It's been a good tour for Dead. Previous to Boston, they played New York's Cafe Au Go Go. Though the club is notorious for having dead acoustics, their performance on Tuesday night (Sept. 31) stretched on until six in the morning, with most of the available space taken up by dancers. Think of New York, and think of dancers and you'll see that The Dead can perform wonders, given a time and place.
They even staged their own version of the Rock and Roll revival this time around. "Every once in a while we like to bring back some of our old numbers." and so Friday night they brought back the grandaddy of their golden oldies, 'In The Midnight Hour'. They had referred to it as "ancient history" even as far back as their first trip east over two and some years ago. but suddenly there it was. fresh and new as ever, updated by Garcia's wonderfully long ride on the pedal steel.
There were lots of good moments from The Dead's stay in Boston: the best drum solos from them in a long while, some discreet organ work by Tom Konstanten. Pigpen's enjoyable and altogether too-brief appearances. But over all of this, above any musical things that might have emanated from the stage, was the particular set of vibrations that The Dead manage to bring out in their audiences. They attract a mixed bunch — cycle gangs, hard core freaks, spaced and very strange people that seem to stay underground until their arrival. Together, they certainly do not make for the usual Tea Party crowd.
And The Dead seldom let them down. In a strange way, the group brings the spirit of California with them wherever they go. It's a good feeling, and though its reality out west may be as mythic as one of Pizarro's cities of gold, it still feels nice when it happens here.
© Lenny Kaye, 1969

Grateful Dead: American Beauty (Warner Bros)

Richard WilliamsMelody Maker, 30 January 1971
THE BEST adjective I can think of to describe the Grateful Dead is "disarming." They're beautiful because, unlike so many bands, they never overwhelm you.
Their method is to creep up on you and steal your head through a combination of musicality and sheer enjoyment. Like I said, disarming.
American Beauty is their sixth official album (seventh if you count the early live cuts just released in the States), and it shows off perhaps the most attractive side of their collective personality: the low-key, harmony singalong side with pretty, old-timey songs set to light acoustic backings, Listening to it, you won't believe that these songs were written this century; yet they were all penned by members of the band, plus lyricist Robert Hunter, whose craft equals that of Robbie Robertson. The playing is brilliantly unassuming, just a few really excellent musicians sitting down to play, and the singing is rough but affecting, the harmonies straining ever so slightly but always, always gelling. This is where they beat CSN&Y: the Dead sound human, never manufactured. They're helped along by a few friends, like the members of the New Riders of the Purple Sage, their spin-off group, and Howard Wales, who plays lovely piano on the sad, lazy ballad 'Brokendown Palace'. If you prefer the hard, jamming, electric side of the band, I'd recommend a listen to 'Sugar Magnolia' or 'Till The Morning Comes', which contains the repeated line: "Make yourself easy." That's what this album is all about; I never suspected they'd outshine Workingman's Dead, but they've done it, and here it is. Buy it.
© Richard Williams, 1971

Thursday, April 20, 2017

Beat Club, Bremen: 45 Years Ago Today April 21, 1972

Like this show, I'll keep it short.
Three years ago, on Meet up at The Movies, this little ditty hit the screen.  Lots of attention paid to this 80 minute set by the best of the Dead writers of course. you can listen a bit above or here.
I like the multiple Playing In the Bands on the real CD (track it down).  Happy 45th Birthday, Spring Tour 1972.  If you are so inclined, check out the German Deadhead community at The Wheel (is that a takeoffon the Well?, I will ask Gans)

As usual Mind Wondrin has a great review on

Was sure worth $12 from
"The Cream" perform

Other Beat Club videos

Tuesday, April 18, 2017

LA Fade Away, Six Sweet Late 70s Shows 1976-1978

LA rocked for the Grateful Dead for their six shows between 1976 and 1978, which unfortunately had a series of shows that never a soundborad surfaced. Still, many good tapes from the likes of Bob Menke, and Charlie Miller was able to provide a number of sweet soundboards in the last handful of years.   They seemed to like Franklin's quite a bit during these runs as well as hitting St Stephen in both the of the last two shows of 1978. You can get some toys here  

Much to read and enjoy here, a nice little slice of late 1970's in so Cal with reviews,and several book excerpts as well. 

September to October 1976 was an unique little tour that transitions to the hestitation from the June 1976 tour to 1977. October 14, 1976 at the Shrine saw only the second Dancin In The Streets Wharf Rat sandwich, which David Gans got to see a week earlier in Oakland in the first set! after a really hot five individual song sequence to open set one.

The next night on October 15, should really be considered a 1977 show, with the return of He's Gone followed by The Other One>Comes A Time>Franklin's Tower>Sugar Magnolia. Woo'  Did I mention the once only pairing of Eyes Of The World>The Music Never Stopped to open the set???? 

Too bad, Steve Pond of the LA Times seemed to miss 90% of the highlights :)

What's seriously strange about these shows is that the very first three Franklin's Towers that occured out of a non-Slipknot segue late in the second set all occured in Los Angeles.
10-15-76 Shrine Comes A Time>Franklin's Tower
6-4-77 Forum Playing In the Band>Franklin's Tower
1-10-78 Shrine Wharf Rat.Franklin's Tower  before venturing out of LA to Chicago on 1-30-78 Stella Blue>Franklins

from p 247 of David and Blair new book, buy it!

Six months later, and a week after the end of the May 1977 tour in Hartford, the Dead hit the Forum on June 4, 1977, a few days before the three night stand at Winterland.  Note that the band was scheduled in March again at the Shrine but the show was cancelled when the Southern tour was moved back to May.

After The Music Never Stopped closed set one, the band hit LA with this little beauty:

Samson & Delilah, Ship of Fools, Estimated Prophet-> Eyes Of The World-> Drums-> Good Lovin', Terrapin Station-> Playin' In The Band-> Franklin's Tower-> China Doll-> Not Fade Away-> Playin' In The Band, E: One More Saturday Night

Again, this show needs a SBD update.

June 1977

In the cool liitle January 1978 California tour, we got two little Charlie Miller boards, partial is this
1-10-78 Jam
Estimated Prophet ->
He's Gone ->
Drums ->
The Other One ->
Wharf Rat ->
Franklin's Tower ->
Around And Around 

The Grateful Dead loved to play Franklin's late in the second set in LA. Hmmmmm/

Terrapin Station ->
Playing In The Band ->
Drums ->
Space ->
Saint Stephen ->
Not Fade Away ->
Playing In The Band 

Billboard Review of Jan 10, 1978

12-30-78 UCLA
Jack Straw, They Love Each Other, Mama Tried-> Mexicali Blues, Loser, Looks Like Rain, Stagger Lee, Passenger, Tennessee Jed, Minglewood Blues, Sugaree, Promised Land I Need A Miracle-> Bertha-> Good Lovin', Scarlet Begonias-> Fire On The Mountain, Playin' In The Band-> Shakedown Street-> Drums*-> Ollin Arrageed-> Saint Stephen-> Not Fade Away-> Goin' Down The Road Feelin' Bad-> Around & Around**, E: One More Saturday Night

From David Dodd's Grateful Dead Reader, 12/30/78



Sunday, April 16, 2017

Three Capitol Nights In New Jersey, April 25 26 27, 1977

Here what happens when you play in 3,200 seat venue when you are the greatest band in the world, you get very underestimated shows. Well, also we have our pick of some fine Spring 1977 Dead, these shows sometimes get lost in the shuffle. Fortunately Dave picked the first night, April 25, as the 30 Trips 1977 representative and John Scher et al choose to videotape most of the later two nights.

Have fun getting lost with three more beautiful takes from late April 1977, the 5th, 6th and 7th shows of the year with plenty of Scar Fires, Terrapins, Prophets and a Dew. May the Music Never Stop.
30 Trips Review of April 25 makes clear another underestimated Spring 77 show
Exerpt from Jesse Jarnow's great Heads book; hmmm I can tell a similar story from the Palldium involving Jerry Moore and his friend in a few days

Thanks to Dead Relix (from my personal copy)

from the Grateful Dead FAQ, dude , you might want to have mentioned the Terrapin>Dew

Passaic, NJ

New Minglewood Blues
Mama Tried
They Love Each Other
Looks Like Rain
Lazy Lightnin'>Supplication
Ship Of Fools
Estimated Prophet
Brown Eyed Women
The Music Never Stopped

Scarlet Begonias > Fire On The Mountain
Samson And Delilah
Terrapin Station>
 Playing In The Band>
Drums >
Wharf Rat >
 Playing In The Band

U.S. Blues

Location Passaic, NJ
Date 4/26/77 - Tuesday posters tickets, passes & laminates
One Bertha [#5:13] ; Me And My Uncle [3:00] ; It Must Have Been The Roses [6:36] ; Cassidy [4:42] ; Tennessee Jed [8:#15] ; Big River [5:29] ; Friend Of The Devil [8:27] ; Estimated Prophet [8:13] ; Deal [5:49]
Two Good Lovin' [5:05] ; Mississippi Half-Step Uptown Toodeloo [10:44] ; Dancing In The Street (1) [14:32] > Drums [4:49] > Eyes Of The World [12:26] > Samson And Delilah [6:51] ; Stella Blue [12:25] > Sugar Magnolia [9:08]

Band Grateful Dead
Venue Capitol Theatre
Location Passaic, NJ
Date 4/27/77 - Wednesday posters tickets, passes & laminates
One The Promised Land [4:06] ; Mississippi Half-Step Uptown Toodeloo [8:41] ; Looks Like Rain [8:10] ; Sugaree [12:06] ; El Paso [4:39] ; Row Jimmy [9:17] ; New Minglewood Blues [4:53] ; Loser [8:08] ; The Music Never Stopped [6:55]
Two Estimated Prophet [8:15] ; Scarlet Begonias [8:36] > Fire On The Mountain [7:27] > Good Lovin' [5:11] ; Ramble On Rose [6:57] ; Samson And Delilah [6:55] ; Terrapin Station [10:26] > Morning Dew [12:38]
Encore Johnny B. Goode [4:05]