Saturday, July 15, 2017

Not Sleepless in Seattle: UW Students get 46 Minute Playing In The Band & Very Clean in Hotel, May 21, 1974

The wall moved into Seattle on May 21, 1974 and with it came a 46 minute plus Playing In The Band that opened the second set. Listen here

Deadbase's John W. Scott's brevity is a perfect counterbalance to the massive performance.



Now the first time I saw the Ramones, their entire 21 song show was 20 minutes long. The second time was 25 minutes.  So this one song on thie Spring night was longer than two entire shows.

Additionally, I have discovered a nice piece in the Seattle newspaper a few weeks after the show that undercovers the hotel room habits of members of the band, I am not sure of the group actually stayed at the Edgewater, known for famous Frank Zappa Mudshark tale.

Me & My Uncle, Brown Eyed Women, Beat It On Down The Line, Deal, Mexicali Blues, It Must Have Been The Roses, The Race is On, Scarlet Begonias, El Paso, Row Jimmy, Money Money, Ship of Fools, Weather Report Suite Prelude-> Weather Report Suite Part 1-> Let It Grow-> China Doll

Playin' In The Band, U.S. Blues, Big River, Stella Blue, Around & Around, Eyes Of The World-> Wharf Rat-> Sugar Magnolia, E: Johnny B. Goode



Saturday, July 8, 2017

The September 1973 Sidetrip: Dead Play with Horns

Five years ago, the amazing Corry343 wrote the definite piece on the nine shows in September 1973 where Joe Ellis and Martin Fierro played horns with the Grateful Dead on the soon to be released Wake of the Field tunes, and a few others.

This piece is simply an appendix to that piece http://lostlivedead.blogspot.com/2012/01/horn-tour-september-1973-tour-itinerary.html where you can easily listen or download the horns tunes for your own enjoyment and read a little at the time onservations by our friends in the local media.

1, College of Williams and Mart, 1973-09-11  Let Me Sing, Weather Report Suite
2, College of Williams and Mart, 1973-09-12   Let Me Sing, Weather Report Suite, Eyes
3. Providence, RI 1973-09-15  Truckin, Eyes, Let Me Sing, Weather Report, Sugar Mag, OMSN
4. Syracuse, NY 1973-09-17 Let Me Sing, Eyes, Weather Report
5. Philadelphia, PA 1973-09-20 Eyes of the World
6.  Philadelphia, PA 1973-09-21  Let Me Sing, Weather Reprt, Casey Jones
7. Pittsburgh, PA 1973-09-24 Eyes, Weather Report
8. Buffalo 1973-09-26 Eyes of the World, Weather Report, Saturday Night

















Monday, July 3, 2017

7 Come 11: Dead Hit Vegas Jackpot in New Charlie Miller, 1994-06-26

One of the last great Morning Dews got a nice makeover over the weekend with the Charlie Miller upgraded release of the Grateful Dead's June 26, 1994 show from Sam Boyd's stadium in Las Vegas.

Now I have been to a football game in Sam Boyd in December when it is relativity cool, maybe 85 degrees, but I hear that this show topped 120 degrees on the field making this perhaps the hottest show the Dead ever played.



Reviewer: easywind2 - favoritefavoritefavoritefavoritefavorite - November 25, 2016
Subject: Split reviews
I have read all the reviews here on this show and I have to add my 2 cents and review. 2 cents is there is always going to be some negative reviews on any show, but most, Underlined, most people who were there, I believe have to say, Wow! This was a magical show for me even though I spent Terrapin through the beginning of Dew in the medical tent for heat exhaustion. Some of the reviewers who were there and did not like this show can have their reasons no questions asked because everyone can have a bad day, Ha, Ha...... just kidding........ Who can say what colors a show for a person, for me and others who have reviewed this show who liked it, I hope this review helps. My little back story is....... I spent most of my early 90's in the NH area and saw 9 Boston garden shows ( 6 in 93 and the last 3 of 94 ) plus other east coast shows, but wintered in Tucson for a few years and saw the first and second vegas runs. While back in NH during the summer of 94, I decided to go and visit my brother who just relocated in Boise and also see some shows. I met up with some heads and we went down to these shows. Yes, It was hot...... We camped out by Lake Mead, which for me did not work out. Between the heat and partying after the shows, I was burning the wick at both ends. The first 2 shows were good, but not stellar by any means. We would stay in the parking lot after the shows until 3 am and then head back to Lake Mead after, but then the sun would come up and it would be 95 degrees by 8 am and me with 2 or 3 hours sleep each evening/morning caught up with me......... and by showtime sunday, I was dragging..... I soldiered through for most part of the day and through most of the first set and part of the second set, but by the end of Saint, I started to feel really bad. Had to go to the medical tent until halfway though Dew, chugging Gatorade to fend off the rising Heat exhaustion symptoms but was able to finish off the show. After the show I had to be taken to a hotel room where some friends were staying and was put in a tub of cold water for a while. That helped a little. We then set off back to boise in a old VW bus, but it didn't have air conditioning and 20 miles outside of Vegas, I started to Convulse again and I had them take me back to Vegas where I got a room, cranked the AC and got a flight back to Boise the next day. Still can't handle the heat very well now....... Back to the show...... Even with my problems that night, I was just mesmerized by this show. Sure there were some sore spots..... So many roads, Tom thumbs and Victim is not my fav, but this one had some nice jams. Rest was phenomenal in my eyes. I pondered some of the reviews here and the only thing I can say is for people who were there and it did not do if for them, is that some things just happen to make it not for you. I perceived a charge in the air all night long and maybe you just did not tap into it. That and the playing for this era, lets face it, its not 73/74, was stellar, and they were as tight as I have ever seen, or heard the boys. Would love to have seen some earlier shows, but it didn't happen. Just glad I saw this one. Still my favorite even though i was not at my best for it.
Reviewer: bman1973 - favoritefavoritefavoritefavoritefavorite - June 29, 2016
Subject: THIS WAS A GREAT SHOW
I guarantee that those who say this was so so or not the best of 94, was not there and is either not listening to a quality recording or don't know what they're talking about. This was a magical show! Every song was played with intensity and the setlist was a dream! The sound hit you in the chest, it was like you could step up and walk on Phil's bass lines. I started seeing the dead in 92 and saw 53 shows and this one is in my top 5 that I saw! I don't understand how you can listen to this show or watch the 1st set on youtube (where's the 2nd set?) and say that this show is anything but 5 stars. You can't compare Eras, you just can't and as far as the Vince years this was the Dead at their very best! I would die for a SBD of this show or the proshot! C'mon start putting out more whole show vids!
Reviewer: doug_the_dude - favoritefavoritefavorite - September 4, 2014
Subject: --
So-so offering from '94 - there are plenty of better shows from this year - try 10/1 or 10/5, for starters...

I enjoy this first set quite a bit, save Jer's So Many Roads - this is really Bobby's set - El Paso, with that acoustic and Vince's 'cantina' intro and outtro, is absolutely wonderful; that middle section of MNS is as psychedelic as ever...

First part of the 2nd set works - Victim descends into that typical atonal madness, the Eyes is long, and Jer gives it his all on Terrapin - post-Space the band is somewhat out of sync, and Jerry mumbles his way through Morning Dew - it's been done a lot better.

Overall, some good moments, but those calling this the best of the 90s should, respectfully, explore the decade a bit more.
Reviewer: Augy - favoritefavoritefavorite - February 7, 2014
Subject: Definitely NOT the best of 90's, but a good set list!
The first thing I'd like to know is why would anyone be stupid enough to copy a digital recording to analog and then back to digital again, unless the one or both of them are totally desperate for a copy and there is absolutely no other way to obtain it? Because that completely makes no sence! Since the so-called analog in not really a true analog; rather a slightly hissy copy with the tiny gaps between the didital samples and then likewise the next is a slightly hissy psuedo-digital! Meaning it likely has new gaps in different places than the original gaps and even if that isn't true, there still is no way it can be considered a genuine digital transfer/copy which if it were as such, it must be an exact duplicate with no loss of qaulity! Futhermore, my last assertion must not be confused with mp3's or 4's or even 1's 0r 2's all of which just like photos of the jpeg variety, are indeed digitally produced, but due to their compression are drastically subject to very significant loss of quality upon each subsequent or should I say successive copy, even worse dare I say, than that of which I trust you are aware of that occurs when a similar series of subsequent copies in succession are made!
I was at all of these and yes indeed, "So Many Roads" was sweet; along with "Terrapin", and the improvisation, (I refuse to call it "Space" since their is no air in space, hence no sound, "The final frontier" perhaps), amongst others. However, the happy Head that said it was the best of the '90's must not have seen many shows in the '90's. Because for example, "Eyes of the World" was one of the boringest I've ever heard! On the other hand, parts were a good set list, like "Easy Answers", and some rarities like "The Shoe Fits" etc.!
Sorry to be so negative, and in fact folks have accused me of being overly critical! Yet I recall, (although it was in the '80's after I'd been accused as such; when I came out of a raging show which shall remain nameless, and saw a person who thought of me this way; I immediately said how much I appreciated the performance)!
But unfortunately, since I have far fewer recordings of the shows I saw in the '90's than I do from earlier, even though I can think of ones I was impressed by; it would be unfair to cite a specific date as better, (with the possibly exception of 1994-12-16, entirely with Branford Marsalis, speaking of "Eyes of the World"); before having reviewed the recording. So obviously then I could be certain of it's strengths and naturally, some occasional weaknesses, if any! In any case, thanks to this amazing archive that is gradually coming to an end, since it appears to contain virtually all shows from the '90's!

Augy

San Diego
Reviewer: Dylan M - favoritefavoritefavoritefavorite - July 8, 2011
Subject: Why are people being so hard on this show?
I think its one of the top five of 1994.

Other than the fall MSG and BG run what sounds better than this from 94'?

Of Course not as quality as fall of 89' or summer of 90', but comparatively to other post 91' Dead this show fares up their with the Cal Expo and Autzen 93' runs as some of the more quality later Dead.

If people are going to be critical of performance consistency and fluidity there are plenty of other shows to criticize before this one.

Here we have a 3 hour show in 1994 (a generally weak performance year IMHO) with a nasty 23 minute Terrapin, a solid first yet (yeah Jer flubs some lyrics in So Many Roads... so what? Watchtowers a bore, when isn't it?) Most importantly the band is somewhat focused rather than the "going thru the motions" spirit that unfortunately seemed to dominate the later years of the Dead.

Other highlights include an epic Eyes of the World, and a Morning Dew that might surprise you in its climax jam which is super on point. Unfortunately it cuts out about 20 seconds short of the end. We do get the entirety of the Climax jam, but still feel shorted...

As somebody who would rather listen to early Pre Vince-era stuff this is a show that was actually a pleasure to listen to.

Solid 4 stars for a generally 2 star performance year.

Sunday, July 2, 2017

September 10, 1991 with Branford: Best Show of the 1990s?

Yes it was. In my opinion, this was the best show of the 1990s for the Grateful Dead.  No doubt it was the best show from 1991-1995, and I know there were some Dozin shows in Spring 1990 including another Branford classic, but this is the one for me. I have a nice audience paying here, but take the effort to get the DSBD or better yet the 30 Trips.

The only show I saw after 1987 was the lowest rated Branford show in December 1994 in LA.  Was still a wonder for me, that late in the game.

In the amazing September 1991, this one has it all, song selection, playing and Dark Star. Help on the Way, great CC Rider>Train to Cry medley, just about everything you could ever want. Enjoy

A little known fact is that six days later on Sept 17, 1991 played the National Anthem at the Mets game in Shea in front of a tiny 4,355 crowd. Brandon was also playing a couple of gigs at the Joyce Theater Sept 12 and 13.






Blair's thoughts



Dupree Diamond Review

From Deadbase 1991




NY TIMES Sept 9, 1991

In a recessionary pop music environment in which tours keel over and die and radio and MTV stars hit the road only to cancel their tours, the Grateful Dead, 26 years old and counting, are doing better than ever. So far this year, their gross for live shows has been higher than any other band's. For the first six months of the year, the Dead earned $20 million. Playing stadium-size venues -- something no other tour has dared do this summer -- the band has sold out virtually every show it has played, and the prediction is that for the rest of the year, it will sell out everything that's left.

Yesterday the Grateful Dead arrived in New York to play nine sold-out shows at Madison Square Garden.

"If I knew what made us popular, I'd bottle it," one of the group's leaders, the guitarist Jerry Garcia, said in a telephone interview. "Whatever it is, it invented us, we didn't invent it. The audience thinks we're providing more than music, but we don't let on what we're providing, intentionally. We're elliptical. Someone once wrote that we're a real cheap vacation to Bermuda, which is kind of right. But insofar as we're providing a safe context to be together with a lot of people who aren't afraid of each other, which is real valuable in New York, I'd guess, we're important."

Part of the Grateful Dead experience is its audience. However the baby-boom generation has ended up making a living, it still likes to go to concerts, perhaps dreaming of California freedom and San Francisco bohemia. People sliding in from a hard day on Wall Street sit next to people two generations younger in tie-dye whose glazed eyes don't come from staring at a computer all day and who have been following the tour, showing up at every concert. Standard parts of the scene are the Grateful Dead A.A. chapter, out in force, and the officially sanctioned bootleggers, who sit beneath a forest of microphones taping each precious drop of music. And unreconstructed older hippies, role models and mentors to the teen-agers in the audience, also show up in tie-dye but with streaks of gray in their hair.

Each show is an event, a spectacle that draws meaning from itself as much as it does from the music.

"With all the kinds of people that come, old-timers and kids, it's a little hard to tell what makes them all have a valuable experience," Mr. Garcia said. "I used to wonder about it and worry. Suppose we're misleading all these people? But it's not really like that, I realized, because we're not selling a point of view. We stay away from advocating much at all, so people are left on their own to imagine who we are."

Though the core of the band -- Mr. Garcia and Bob Weir on guitars, Phil Lesh on bass, and Mickey Hart and Bill Kreutzmann on percussion -- has been together since 1968, the loss of its pianist, Brent Mydland, to a drug overdose last year and the subsequent inclusion of Vince Welnick and Bruce Hornsby on keyboards have meant that the band has been changing its sound. Though it still does its standard two-set shows, with a long drum interlude, and though it still performs many of its classic songs -- playing without a set list, the band can do six nights without repeating itself -- it is developing a thicker and harder sound. Not that this has changed the audience's experience too much; the shows still feature people dancing in the aisles, performing a particularly arrhythmic dance that's specific to Grateful Dead shows.

"The band is basically a new band with the two new guys," Mr. Garcia said. "Those guys have to catch up with 25 years of stuff, and we have to learn to hear what their unique capabilities are. In the short run, it's a setback, but in the long run it's an advantage. The band is more solid now; it's lost some of its lightness but there's a little more rhythmic precision, which we could always use." Going Out Separately

Mr. Garcia has been busy recently, putting out two albums, including one, "The Jerry Garcia Band," (Arista) culled from a tour he did with his own band, featuring songs like "The Way You Do the Things You Do," "Dear Prudence" and "Tangled Up in Blue." Typically, the songs are completely remade, as much a comment on the tunes' potential as about the original version of the songs. The other album, "Jerry Garcia/David Grisman" (Acoustic Disc), is a series of acoustic pieces by Mr. Garcia and his old mandolinist friend, David Grisman.

"I can afford to be more selective now, and I have the luxury to pick and choose that I haven't always had," Mr. Garcia said. "I worked as a studio musician in the late 1960's and early 70's, without that much concern for who I was recording with. Everything I've done recently is something that I wanted to do."

Mr. Garcia mentioned possible projects with Paul Kantner, the former Jefferson Airplane and Starship guitarist, and with Mr. Hornsby. And he has just appeared in some ads for Levi's jeans: "Me, Hornsby and Branford Marsalis," Mr. Garcia said. "Spike Lee directed, and I figure if Spike can sell out, so can I."

Of all the major rock guitarists to arrive in the 1960's, Mr. Garcia is arguably the most musically literate. He's just as at home talking about Indian improvisation as he is about John Coltrane or about Brazilian mandolin players. Taking bluegrass and jazz as a conceptual framework, his solos, shifting easily from harmonic color to harmonic color, always sidestep cliches. And his improvisations swing and crest the same way a jazz musician's might, with an intensity that isn't predicated on volume. He's one of the few rockers, in fact, who can sustain a lengthy improvisation.

"I'm still learning," he said. "As long as I'm still learning I can keep playing, and it's going to be fun. There's a certain problem-solving aspect to improvisation that I like, it's thinking on your feet. There's an intellectual and emotional side to it, and the emotional side I can't quite articulate. It's one of those things you feel or you don't. The intellectual is easer to grasp, it's the bead game, with infinite ways a solo can go. Freezing the choices in time and choosing, that's the satisfaction. As I get older I'm starting to perceive a greater sense of composition, a sense of contour and development that is missing in my early stuff. The earlier stuff, truthfully, is embarrassing."

It is the improvisational aspect of the Grateful Dead's music that keeps it fresh, even as the band's members reach an age that at one time would have been thought impossible for a functioning rock group. (Mr. Garcia is 49 years old; Mr. Lesh is the oldest at 51.)

"If Benny Goodman and Pablo Casals could do it, so can we," said Mr. Garcia. "I keep playing and touring because I enjoy it. But it can be labor intensive. Rehearsing the Grateful Dead is major work. It's one of the reasons we don't come up with new material every tour. The band is evolutionary, and where everybody learns a new tune right away, deciding what to play goes on for years. Everybody in the band is so amazingly idiosyncratic, nobody plays a formula. From a writer's point of view, there's two years' worth of discomfort performing a new tune. About the second year it starts turning into something.

"But, you know, everything is always subject to change."

Photo: The Grateful Dead, which earns more in live shows than any other band, last night began nine sold-out shows at Madison Square Garden. (Angel Franco/The New York Times)

An Interview with Jerry Garcia

Richard Gehr, Newsday, 9 September 1991

IT WAS THE first thing that happened to the Grateful Dead when they arrived in New York City on June 1, 1967, and Jerry Garcia remembers it as though it were, well, the Summer of Love.

"Somebody picked us up at the airport in VW buses," recalled the guitarist by telephone recently. "We hit town and there was a little parade. The hippies from the East Village came, and we took our gear to Tompkins Square Park and played with the Fugs. It was fun." It was also free.

The Tompkins Square Bandshell was demolished a couple of weeks ago, but the jollies continue at Madison Square Garden, where the Dead conclude a sold-out nine-performance run this Wednesday. Back then, the Dead (whose longtime core includes guitarist Bob Weir, bassist Phil Lesh, and drummers Bill Kreutzmann and Mickey Hart) were intensely playful alchemists who took audiences along on bluesy psychedelic star flights that played fast and loose with musical parameters.

Today it's a somewhat different entity, a heavily mythified and economically prosperous beast with nearly 30 years collective experience behind it. As other groups gang up to offer cost-efficient concert packages, the Dead easily sell out scores of arena shows each year on their own with minimal hype. Sometimes quality and consistency become their own reward.

For Garcia, the Dead are in a transitional period, having replaced Brent Mydland (who died of a drug overdose last year) with keyboardists Bruce Hornsby and Vince Welnick. "I would say that within the next couple of years the band will go through some interesting changes," he says. "I think we're going to end up with something more powerful than what we've had in the past. When you add more guys, you've got to have a greater agreement about precisely what the tempos are and how the time is divided. Especially since one of the guys is Hornsby, who has great chops and is into dividing up the time into little teeny pieces."

Despite its inherent looseness, and occasional jams with the Neville Brothers and Branford Marsalis, the Grateful Dead event-experience has become more codified over the years - much like its eternally tie-dyed, mainly college-aged audience. Does Garcia ever get a notion to shake the whole thing up?

"Absolutely. As a matter of fact, I'm doing that right now in a mild sort of way. Because it suddenly occurred to me this last year that, hey, I'm starting to get a little tired." Is there anything specific Garcia would like to see the Dead do more of? "I'd like to see us take more vacations!" he says with a laugh. "But if we're going to keep on doing this, we have to focus on making it more fun for us. If that means making it more challenging, or whatever it takes, that's what we've got to do."

Don't fret about Garcia retiring anytime soon; he won't hit 50 until next year. Meanwhile, the excellent Jerry Garcia Band (Arista), a recently released double-CD, documents the live adventures of his primary sideline, a rhythmically taut groove machine specializing in Bob Dylan and r&b cover versions. The versatile band's namesake characterizes the group as "relaxed," "comfortable," and "low-maintenance," in contrast to the Dead, which is "kind of a big deal." Why so much Dylan? "His songs have real intelligent lyrics. They're very resonant for me."

Another facet of Garcia's versatile musical persona, which ranges from old-timey styles to free jazz, receives exposure on Jerry Garcia/David Grisman (Acoustic Disc), a deceptively casual-sounding non-electric project pairing the former Captain Trips with modern bluegrass music's most formidable mandolin player.

"We complement each other," the guitarist says. "He's kind of a tightly organized, well-rehearsed player and I'm a loose, undisciplined kind of player." Working a similar vein, Garcia has also been recording with Red Allen, "one of the fine old voices of bluegrass."

Garcia and the Dead have always operated as an alternative to the music industry. Many of their recordings are available only on the band's own label, while approximately half their concert tickets are sold through Grateful Dead Ticket Service, which Ticketmaster and Ticketron have pressured the group to discontinue. Although the band records for a major label, Arista, its records often seem like afterthoughts to the concert experience. By giving old songs fresh twists, like a repertory jazz group, the roadwork fuels their legend while paradoxically making them less appealing to an industry that relies on the appearance of constant novelty to generate profit.

According to Garcia, the main problem with the music industry is that it isn't doing anything to support its future. "Where are musicians going come from? The music business makes enough money so there could be a music college or something, but it doesn't give anything back. It's not very conscientious."

While drugs still tend to play a certain part in much of the audience's enjoyment of the band (every religion needs its sacrament), Garcia himself shies away from the sort of chemical stimulation that inspired the band's improvisatory adventures. Garcia claims not to remember the last time he intentionally played live on LSD.

"Acid today comes in such small doses that if they dosed me, I don't think I'd notice it, to tell you the truth. Sometimes I feel like I've been hit with something, so I'm sure it occasionally happens. But I get a serious buzz just playing. My responsibility is to deliver a competent show and I have enough trouble going out there normal. The days you could get high and the audience wouldn't mind are over."

© Richard Gehr, 1991