I was in Chicago. Played on a yacht with Melvin Seals sitting in. She may have been there, but I was focused on Melvin. Just went and checked video on my phone. Only shot stage right for Seals
JRAD is so fucking good. Russo and Marco are two of the most talented musicians at their craft. So glad I got to see them twice and hope I can again. Not sure how long they will keep it running, but they are filling up seats and getting a following similar to bigger bands like SCI and others.
Just bought tix to see them on NYE in Philly. Going to tie it into a NYC trip that I'd already been planning. Stoked!
I saw a cover band, the stolen faces, at a very small, cool, cash only, byob venue in Birmingham. They put on a great show, and I learned they're from Nashville and played some after party after dead and co. in Nashville.
I'm no expert on the May 77 shows, aside from I know how famous the month is, and how well regarded the cornell show is - but the 5/13/77 show is a super clean performance. That's not always the greatest thing for the dead, but they just sound really good all around. Strong Scarlet > Fire & Estimated that night.
Much better first set than second IMO, though The Other One does get out there a bit. Excellent Scarlet > Fire as you mentioned. 5.17.77 is my favorite, but I'm obviously biased.
Listening to this show now...really fucking good. It would at least crack the 2-deeps in your front seven.
Best Jack-a-Roe ever. Notable Half-Step, Scarlet > Fire, and Terrapin. Really nice treat in the form of High Time. I pretty much know that show note by note.
I listened to a few ABB / Crowes shows this weekend that I probably haven't listened to in 5 years...was amazing how well I remembered them.
Heesu, be sure to check out Fall 77 once you've moved on from Spring. It obviously doesn't get near the hype, but it's really fucking good. I actually prefer Jerry's tone more as he just got back his refurbished Wolf guitar for the late September Seattle shows.
I know the grateful dead movie / 1974 in general nearly killed the band, but it's so great that they got some good, pro-shot footage from that year. They should release it all and take my money. Maybe charge an extra $50 for a Donna mute button.
Dat 6:25 mark Really need to see them live. Hoping Lockn books them next year, already got my "alumni" tickets last month.
Random show from my home state...good energy: https://archive.org/details/gd80-08-24.naks-eaton.jim.10531.sbeok.shnf Really strong Cassidy & a fucking killer brown eyed women. Strong looks like rain, good althea...nice recording. Fucking Grand Rapids in 1980...hard to imagine.
Jork this is the band I saw last night. My phone is dead, but I saw you asked...they have a bunch of good pro-shot stuff on youtube.
Tell me more about this. Hey doing it again in March! http://artistdata.sonicbids.com/the...-mountain-concert-series-mar-23-2016/1471796/
The venue is fairly small with a stage almost like some kind of coffee shop. It's cash only, byob. Normally the crowds are pretty reserved I believe, but it was much different for the stolen faces. Everyone was dancing and having a good time. There are tables right in front the stage you can snag if you get there early enough, otherwise it's just a bunch of random seats.
Here's the JRAD NYE show in Philly: https://archive.org/details/JRAD2015-12-31.schoepsMK4V.travitz.flac16 Its great all around - but that post ball drop -> Sugar Mag > Scarlet > Fire is so fucking killer. This band is so fucking good.
10.27.79 10.19.81 10.10.82 Off the top of my head. Sailor never really went as far as Saint in terms of improvisation, but those pairings are all good. May 80 and August 82 have some real solid versions as well.
Definitely meant one with Saint. Went 10-10 and really enjoyed the "what the fuck are you gonna do" Bobby threw in that one. The Touch the follows is delightfully weird
I thought that the '77 Ttown show was some sort of local joke for years. It's just so good has a very clean sound. It was nothing like most bootlegs I had heard up to that point(mid 90's). https://archive.org/details/gd77-05-17.sbd.weiner.18554.sbeok.shnf
This is such a monster fucking show: https://archive.org/details/gd1978-05-14.sbd.miller.108996.flac16
Got this for Christmas Not very far in and its very dry. I was amused to learn Aldous Huxley told Bill Kreutzmann's headmaster at boarding school to let him finish practicing one night.
I was looking for a Weather Report couldn't find on so settled on just playing 12-2-81 and this has been a nice finded
great to have if you're curious about the vibes of a particular tour/year, though. its the kind of book you can just flip open to any page and start reading until you get bored.
http://www.aquariumdrunkard.com/2016/03/10/dead-notes-12-june-81974-buffalo-ny/ Dead Notes #12 :: June 8,1974 – Oakland, CA 1974 is one of the greatest and most transformative years within the Grateful Dead’s history, with two major events setting the tone: the official unveiling of the infamous ‘Wall of Sound’ and the band ominously playing “The Last One”, on October 20th, marking the beginning of an extended hiatus. The Wall of Sound was the brainchild of the infamous LSD chemist-cum-audio engineer and early Dead benefactor, Owsley “Bear” Stanley, in collaboration with instrument manufacturer Alembic. The completed system (weighing 75 tons with 11 channels powered by 48 amplifiers, driving 586 speakers with 28,800 watts of continuous power) made its debut at Daly City’s Cow Palace on March 23 (Dick’s Pick 24). Now, even audience members in the upper reaches of the cavernous sports area could hear every strum of guitar, every plunk of piano and crash of cymbal. Phil Lesh reaped the biggest benefit of the new system with a quadraphonic encoder that sent signals from each of his four strings to a separate channel, and set of speakers, producing near subsonic notes that reportedly felt as if they were rising from the floorboards. Grateful Dead :: Playing In The Band > Wharf Rat > Playing In The Band The groundbreaking aural milestone did not come without its own set of challenges, as two Walls of Sound were needed in order for each road crew to leapfrog from city to city due to the time-consuming nature of the setup. The situation was compounded by organizational issues, “new” versus veteran employee dust-ups, and the financial strain from lugging the sound system across land and sea — all exacerbated by an ever-escalating use of cocaine. By the fall, after a terrible “death march” across Europe, the band along with management agreed that enough was enough and a decision was made to take some time off from touring. As the house lights went up one last time at the famed Winterland Ballroom the band retreated into the night…and for the first time in a nearly a decade would not perform regularly in 1975, save a handful of one-off gigs. Long time band compadre Bill Graham and his production company kicked off their 1974 summer concert season, Day on the Green, with a smokin’ dual headline billing of the Grateful Dead and the Beach Boys along with openers New Riders of the Purple Sage and Commander Cody and his Lost Planet Airman. Tickets were just $8.50 with music starting at the very un-rock ’n’ roll hour of 10 AM as Cody set the tone for the day exclaiming, “Why don’t I see more of you hippies at baseball games?” before launching into “Smoke that Cigarette.” As the previous night’s hangovers gave way to farmer’s tans and Acapulco Gold clouds, The Beach Boys took the stage allegedly surrounding themselves with police tape to keep the Grateful Dead and their brood of psychedelic hooligans from their stuff (because, as we all know, they were really on the “straight and narrow”) while delivering an inspired set of classic surf ’n’ roll. Deep in the afternoon haze, Garcia fingers the opening to lick “Playing in the Band,” the Dead’s clarion call to the masses of their pacifist ethos, sending the band into a 40-minute rigmarole that transcends boundaries of time and space. As the opening section closes, Phil gallantly leads the group into the jam as Jerry starts to explore the inner jungle with his spacey wah-wah fills. Bobby’s breakneck rhythm hacks away at the dense terrain as Jerry descends into the “Tiger Jam” with ferocious notes while Phil’s ear-splitting, otherworldly noise transmissions bring the band to full roar. The feedback then eases into a series of jams by Billy and Keith as Jerry attempts to reintroduce the “Playing” theme. But the rest of the band passionately slips into a “Wharf Rat” riddled with a pummeling series of Phil bombs as our derelict hero pontifies his women and maker before wine and doin’ time for some other fucker’s crime. Jerry and Phil underscore the echo of his wishful decrees with a beautiful blues jam that begins to saunter off into the early twilight before exploding back into the “Playing” reprise. And just as quick as it began, it crashes to an end leaving 65,000 heads looking for answers in the treetops of their minds.words / d norsen
If you need something to listen to this week, check out the Academy of Music run from 72 right before they went to Europe. It was something of a warm up, but the shows are absolutely spectacular with tighter playing than Europe, if not as exploratory. A week-long run from 3.21-3.28 with some really nice recordings and official releases out there. Check em out.