So I went to the Black Crowes show at the Riviera on Friday night. The Crowes show was fantastic as always, but what is more interesting is what happened post show. Walking out of the Riv, I was approached by some people handing out handbills for a show by Terrapin Flyer featuring Tom Constanten at the Kinetic Playground up the street. I decided to check it out. When I arrived, the band was taking a break, and I could see TC clomp'n around with a sport coat on being extremely creepy looking (see above). He then played a few solo songs where his unfortunate voice was featured...his setlist was something like: Cold Rain & Snow, Dark Star, CAROLINA ON MY MIND!!!!!! (yes, the james taylor song). It was honestly one of the funniest things I have ever witnessed. After his solo work, the band came back on with him, and he was pretty good playing Grateful Dead songs.
Sunday, November 8, 2009
Take You to the Leader of the Band
So I went to the Black Crowes show at the Riviera on Friday night. The Crowes show was fantastic as always, but what is more interesting is what happened post show. Walking out of the Riv, I was approached by some people handing out handbills for a show by Terrapin Flyer featuring Tom Constanten at the Kinetic Playground up the street. I decided to check it out. When I arrived, the band was taking a break, and I could see TC clomp'n around with a sport coat on being extremely creepy looking (see above). He then played a few solo songs where his unfortunate voice was featured...his setlist was something like: Cold Rain & Snow, Dark Star, CAROLINA ON MY MIND!!!!!! (yes, the james taylor song). It was honestly one of the funniest things I have ever witnessed. After his solo work, the band came back on with him, and he was pretty good playing Grateful Dead songs.
Thursday, November 5, 2009
The Top Five Grateful Dead Commercial Releases
5) Dead Set - 1980
A high-quality, fun collection of songs from the electric portion of the 1980 tour. Major drawback is the lack of continuity in the song choices (e.g. Franklin's Tower with no Help> Slip! before it, standalone Fire as well). Also, the best piece of album art.
Highlights: Samson & Delilah, Fire on the Mountain, Greatest Story Ever Told
4) Dozin' at the Knick - 1990
Another collection of live recordings from a particular run, this time featuring March 1990 at the Knickerbocker Arena. Great energy, a lot of content, and one of the last widely distributed performances with Brent.
Highlights: Brent Mydland, Hell in a Bucket, Blow Away, Lady With a Fan> Terrapin Station, Not Fade Away
3) Reckoning - 1980
A great collection of one of the most unique periods of Grateful Dead history. This all-acoustic album captures the boys in a loose, crowd-pleasing environment with limited musical freedom, which brings out their best by allowing them to play traditional folk and country songs.
Highlights: On the Road Again, The Race is On, Rosa Lee McFall
2) American Beauty - 1970
Despite being only their third studio album, American Beauty is probably the most mature and lasting the Grateful Dead would ever produce. It features 9 songs that would remain until the end as crowd favorites, and one that would be Pigpen's first effort at songwriting. In addition to the great content, this album is very well produced. Along with Workingman's Dead, also released in 1970, this is the last of Jerry's pedal steel.
Highlights: Ripple, Till the Morning Comes, the 8 other tracks
1) Winterland 1973: The Complete Recordings
This is by far, without a doubt, the best purchase of music I've ever made. The remastering is heavenly, the completeness of the recordings refreshing, and the content outstanding. Not owning this would be a mistake.
Highlights: Big River (all three nights), Weather Report Suite > Let it Grow, Loose Lucy, Black-Throated Wind, Me & Bobby McGee
Tuesday, November 3, 2009
June 7, 1977 Winterland Arena, San Francisco, CA
This show is the first night of the Grateful Dead’s return to San Francisco following probably the best tour in the band’s history. This is their 33rd show of the year, having averaged about one show ever three days since the year began with an epic night at the Swing Auditorium in San Bernandino, CA. Given the quantity and quality of this period, it’s difficult to isolate a run of nights and objectively review the material. The fact that a few nights (February 26 and May 8, in my opinion) from this 4-month period in 1977 stand out as top 5 shows of all time in is a testament to the consistent excitement and energy present in the first half of the year. In addition, this is a fruitful period for new material. Terrapin Station and Estimated Prophet were rolled out in high fashion on February 26, adding two serious new second set pillars that would remain until the end. The creative energy surrounding the material placed on the iconic Terrapin Station album, to be released in July, helps to lift the band to a new sound in 1977. The prior year, the first after the hiatus, was very well played and features several classic shows, but often became repetitive and low in energy. This three-night run back at the Winterland captures the essence of the period in a large way: the setlists have little overlap (save the aforementioned new releases), each musician is on display, and there is an audible looseness and comfort present with the group back at their home base.
Set One
1) Bertha – After about three seconds, it’s apparent we’re dealing with a high quality soundboard: all seven musicians are in the mix with great deal of skill and brightness in this quick, powerful opener. Phil’s bass is smooth and spread around, popping in sync with Mickey’s enthusiastic toms. The all-encompassing rhythm of this tune explains why it makes a perfect opener: it’s engaging, energetic, and not technically difficult enough for any one member to alter the flow significantly. Given the quality of the mix and the fullness in each member’s playing, it is difficult to recall a better version of Bertha to open a show.
2) Jack Straw - This Hunter/Weir thriller promises to open another layer of depth to the night as the lyrical interplay between Garcia and Weir, as well as the unique tempo of this song give the audience a chance to build on the fantastic energy and gratification created by a perfectly played Bertha opener. Keith’s opening riffs hint at a slower pace for the song, but as he recedes into the rhythm, it becomes apparent that Jerry is not holding back at all. His fingers are seldom inactive, even during the step-up-to-the-mic rhythm strums of Bobby. The drummers carry the energy initiated by Jerry’s picking, and Weir carries the group into a beautiful bridge at about 2:15 as he takes over the majority of the lyrical duties. As in the first track, it’s difficult to pinpoint a place when any member of the band is too quiet or loud, misses a chord, or is taken aback by a blast of Donna Jean. First two songs: perfect.
3) Tennessee Jed – Preceding the Weir sob story comes a chance to see if the energy will dissipate with a nearly 9-minute long TJ. I love this song, but its depth is nowhere near that of the previous number. I expect this song to be a nice interplay between Keith and Jerry. After about two minutes, it’s apparent that Bobby is here to play, and add a lot to the sound in doing so. Listen for his confident fwacks and short slides – he’s filling the air with more sound that one would expect from a Jerry standard. Jerry’s voice has settled in, and his playing is again perfect for the mood. He’s not playing anything over-the-top, nor is he playing anything predictable, boring, or out of place in any way. Keith’s chords are very full, yet never obnoxious in the mix (a la winter 1971).
4) Looks Like Rain – Up to this point, Bob Weir has been cool and confident. His playing is adding something that is often overlooked, or more likely not heard by audience recordings or sub-par SBD mixes. He sounds mature and skilled, and his interplay with Donna is balanced and pretty. The drummers and Phil are presenting a rock solid foundation for the musicians in the front. As Jerry’s guitar cycles through full scales, the drummers pick up the tempo as the song escalates to its conclusion, again leaving the listener in awe at the quality of the sound and the Good Ol’ Grateful Dead.
5) Peggy-O – A similar tempo greets the audience for Jerry’s turn at the wheel of the first set lyrical cycle. His voice is smooth and sweet through the verses of this adaptation of a Scottish traditional. Phil Lesh adds some spice to the flow with his up-and-down notes, again reinforcing the fullness of sound. An audience patch at 7:30 throws a trebly contrast into the sound, and the song concludes like it has so many times, expertly guided.
6) Funicali Funicali – Task: find another band that avoids the doldrums of tuning by slamming out a fun five-piece Italian jingle…
7) El Paso – Another frequent appearance in Grateful Dead shows for decades, this version opens up to a great deal of energy from each member, highlighted by Bob’s never-frantic, surprisingly country soaked voice. Another near-perfect performance, and the shortest song of the night.
8) Friend of the Devil - The slow Garcia chords allow Weir to freely finagle with strings, and the drummers recover what could become a flat performance with subtle differentiation and tact. Donna Jean remains subdued, yet perfectly placed in the arrangement, and Jerry never fails to impress.
9) The Music Never Stopped – It’s difficult to imagine a song that’s more representative of the special aura of energy and cohesiveness in this era. This 7-minute track features each member in full creative freedom, yet the tune is full forward and rocking throughout. For some perspective, put an ear to the studio recording from ‘Blues for Allah’. If you want a “good live version”, here it is.
10) Scarlet Begonias - Keith’s piano is nicely displayed before some difficulties in Jerry’s vocal feed, and the song progresses in typical fashion. Weir’s spongy rhythm provides a nice counter for Jerry’s ever-present strength as he plays into Keith’s notes leading into the floor from which the buildup to a transition will occur. The band is fully relaxed moving through one of the first exploratory stages of the night, and Jerry first steps on the Midi about 9 minutes into the opener to place a funky, hip-swaying drive into the now-anticipated lead in.
11) Fire on the Mountain – Billy and Mickey greet the electronic train and settle the tempo to coax Phil into the high-line, classic sound of FOTM. Jerry’s lyrics falter slightly, but this is not uncommon, and probably reflects the attention and precision required to navigate the more technical second set line. Weir has difficulty finding a place for his guitar, yet provides an excellent lyrical combination with Donna during the chorus repetitions. Overall, this is an excellent, yet forgettable playing of this epic number.
12) Good Lovin’ – Without a pause, the band settles into a lively version of the Pigpen scat, re-engaging the crowd and shaking out some of the requisite buildup of the prior 20 minutes. Phil is extremely prevalent in the middle of the tune, providing a jump for the instrumental section of the song. Jerry’s full chords fling the song back in the direction of Weir, and the band maintains the consistent enthusiasm of the night in what must surely be a crowd favorite. -
13) Candyman – Jerry’s loose guitar introduces this familiar ‘American Beauty’ swinger, and Bobby’s adds splashes of fill for a nice, steady rest after the mammoth opening. Donna remains subdued in the background, and Keith adds only the electronic chord fill that will become more familiar (and disappointing) in the ensuing two years. This is not a particularly deep or noteworthy performance of this classic.
14) Estimated Prophet – It’s worth mentioning that while the original soundboard is nearly perfect for a 1970s recording, a drawback is found in the track cuts between songs. While this eliminates some useless track space (often 3 or 4 minutes), it also eliminates the anticipation of the band’s next choice, often spoiled by Garcia’s casual chord changes before the start. At this point, “Estimated Prophet” is no longer a new experiment for the band. This show marks the 31st playing of the song in 1977, meaning it was only left out one time before this night. Like the Weather Report Suite in 1973, this Bob Weir brings out the best in each member and, in my opinion, epitomizes the era in which it was created. This version of EP features everything: tricky, irregular Weir vocals with a very “pop” 1970s backup vocal feel, electric genius with Garcia’s innovative pedal play, a deep drum line and an energetic bass line by Phil Lesh. This night’s performance is somewhat terse, yet displays all the aforementioned features of a very important song for Bob Weir and the Grateful Dead.
15) He’s Gone – Here lies an interesting contrast with the same song as played in a different era. In the previous review of 9/6/85, “He’s Gone” was a much-needed recovery from what could transgress into a flat, uninspired night in the mountains. On this night, it fits right in with the quality of the song choices, and in doing so risks being overlooked. The drummers sound awkward at times trying to apply their powerful tempo to this slow, primarily vocal feature. Jerry sings this tune with the full-bodied enthusiasm of a new addition to the lineup, and it progresses in a predictably beautiful way for the entire 14 minutes. The final 6 minutes is a good point to sit back, relax, and be happy.
16) Drums> - To me, the impact of this section of the show has everything to do with its placement between songs in the second set. I can’t think of a better place for the creative clanging to be sandwiched. Well, maybe if it was leading into “The Other One” instead… Either way, this is a perfect place to start the playlist if you’re going for a 30-45 minute run (or powerwalk).
17) Samson & Delilah – The percussive power of this tune brings more energy to the stage than anything leading up to it, and Bob Weir continues to amaze with his lyrical perfection. Keith leads in with some familiar piano, and Donna steps up for a more prominent place in the vocals. The one this missing from this playing is an exuberant “great god almighty talk to me now” from Bobby. Before another unfortunate cut, this Samson undoubtedly leaves the audience gasping for air.
18) Terrapin Station – As repeated many times before, the fullness of the mix creates the potential for a memorable performance of Jerry’s new standby. Weir’s rhythm is distinctive and precise, creating a perfect platform for the flowing ebbs of musical voice that will guide Jerry through his motif-laden tale. It’s almost unfair to other years to include so many masterpieces in one night, but as mentioned in the introduction, these are what propel 1977 to the peak of Grateful Dead history. Garcia’s leadership is tangible as he leads the group through a somewhat quick transition to his classic ballad. Like “Estimated Prophet”, the length of the song leaves no unused space, yet feels as if the band has explored enough in the preceding weeks and months.
19) Morning Dew – While this is certainly a Garcia classic, I feel that Phil’s playing truly adds the uniqueness and creative power that creates a timeless longing for “Morning Dew” in the Deadhead’s mind. Using every string to accentuate the ups and downs of the lyrical horizon, Lesh brings the band to heights reached only on the best of nights. Each musician plays their instrument to its fullest, and no energy is lost as the band finishes the set with Bobby’s Chuck Berry rocker.
20) Around & Around – At this point, there’s not much left to say that hasn’t been reached before. This is a memorable night, and each member plays to his fullest potential until the very end. The energy is palpable, and Garcia’s Berry-esque riffs lead to another musical peak that could not conceivably leave any emptiness in anyone in attendance.
21) Encore: Uncle John’s Band – Unfortunately, the soundboard reel appears to be missing the encores. The tune is predictable and nice, and features a funny little Donna miscue. The decision to play a double encore reinforces the conclusion that June 7, 1977 is a fantastic night in Grateful Dead history.
22) Encore: U.S. Blues – In its familiar place, this rambler is certainly meant as a thank you to the hometown crowd. And a welcome departure from “Wave That Flag”. What a night…
Ratings
Sound Quality: 9 of 10 - due to short track cuts and noticeable patches
Setlist: 9.5 of 10 - lyrical balance is in Jerry’s direction
Musical Quality: 9.5 of 10 - because sound quality can weight perception
Old People and Band Aids
What is the god damn deal with old people and Band-Aids (another product that is associated with a brand name). Today I decided to go to the gym and swim some laps. Next thing I know there is an old ass dude flop'n over to the lane next to me. He takes off his shirt to reveal his jungle back, and Arizona skin. Whatever I think to myself as I complete another fucking awesome flip turn (ok, i don't really do flip turns, soon though). Then as I come back to the side where my towel is laying I look down and there it is floating in the water like Buzz Aldrin: A bloody band aide. After that moment, my whole swim was ruined. I couldn't stop thinking about it floating like that. Why was it floating? Shouldn't it sink or rise to the top like a normal under water object? It absolutely had to come from this guy next to me, old people love band-aids. The question then becomes why?. Why do old people use so many band aids? Is it because they have sensitive skin because they are aged? Is it because they are horsing around the nursing home all day, and skinning their knees? Or is it because they are just that bored that when they accidentally hit their head on the table after dozing off during a Dallas rerun they immediately put an unnecessary band aid on themselves. Can you honestly think of the last time you had a band aid on?
Winterland June '77 it is!
Excellent choice EP readers. These shows just got released as a Box Set by the Grateful Dead and I am psyched to review these shows.
Friday, October 30, 2009
What shows should we review next?
Since the inaugural round of reviews is up and you seem to have enjoyed them, we'd like to take your recommendations for next week's reviews. Here are the options:
1) Boston Garden 1991: Sept 20-26
2) Winterland 1974: Feb 22-24 (SBDs) or Oct 16-20 (AUDs)
3) Winterland 1977: June 7-9 - This is the new official box set release. We have the original 'boards
4) Compton Terrace > Las Vegas 1983: March 25-26 - Quite possibly the "Ciggiest" period of GD history. You can smell the Heineken that's seeped into these tapes
5) Boston Music Hall 1978: Nov 13-14 - Some high quality audience recordings from an often overlooked period.
Please let us know and we'll dive into the next "Ear of the Week" - Thanks!
1) Boston Garden 1991: Sept 20-26
2) Winterland 1974: Feb 22-24 (SBDs) or Oct 16-20 (AUDs)
3) Winterland 1977: June 7-9 - This is the new official box set release. We have the original 'boards
4) Compton Terrace > Las Vegas 1983: March 25-26 - Quite possibly the "Ciggiest" period of GD history. You can smell the Heineken that's seeped into these tapes
5) Boston Music Hall 1978: Nov 13-14 - Some high quality audience recordings from an often overlooked period.
Please let us know and we'll dive into the next "Ear of the Week" - Thanks!
Top 5 Worst Things to Happen to the Grateful Dead
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5)Slowing of Friend of the Devil - Friend of the Devil is one of the most popular songs in the Grateful Dead repertoire. (Its inclusion on Skeletons from the Closet has made sure of that. Even my sister used to include it on her mix tapes). For some reason, the boys decided to play it about 100x slower starting in the late 70's. I never understood this. I turned from a fun sing along song to a song laced with heroin and dark creepy corners. Because the current incarnation of the band doesn't play it slow, so I have to put this one on Jerry. I am sure it sounded good to the Persian smokers, but it ruined a great song.
4) Death of Brent Mydland - Brent is a fan favorite no doubt. All my "noob" friends LOVE Brent, and for good reason. He was a fantastic addition to the band when they needed a little spark. His original songs, except for Blow Away, could be done without, but his organ playing was top notch, and added a truly new layer to the band. Not only was Brent missed on the stage, but his death had a major impact on the band on a personal level. Jerry was noticeably broken up over the loss, and returned to using. If Brent's demons didn't take his life, who knows what could have happened from Fall 90 - ?????.
3) Bob Weir's Guitar Tone Change - Until around 1976, Bob Weir had normal guitar tone. His Gibson E-335 was a smooth sounding guitar that danced outside of the melody in ways that had never been done before, or ever since. His playing was influenced not by rock & roll guitar players, but by jazz pianists. Then in '76, it started getting metallic, but still acceptable. However, the 80's brought out some seriously horrible guitars and tones. (Including the nasty Casio shown above, as well as the infamous pink guitar) By the 90's it literally sounded like he was clanging metal poles together as loud as possible in front of a microphone. There are many theories about this change, one that I find most interesting is that his musical space as the the layer on top of the music was taken by Brent, and he had to find a new place to be inside the music. Apparently his decision was to become the guy who clanged metallic guitar tones...weak.
2) Death of Ron "Pigpen" McKernan - Pig was the Grateful Dead at the start. His sweet soulful voice, and inappropriate raps about teenage girls were hilarious and important. I think his influence on the band was an important lasting legacy that gave them a R&B, Soul, Blues sound. Although some view his death as a "good" thing because it gave the band over to Jerry (and Bobby) to write the songs, I can not stop thinking about what Pigpen would have been like in the 80's and 90's.
1) John Kahn - This is by no means a knock on John Kahn's bass playing. He was a fantastic funky bass player that gave Jerry Garcia Band that gave them a welcomed new sound. However, he was a straight up disgusting junkie. He was Jerry's heroin pal, and was a catalyst to the death of Jerry Garcia. Also, he was dirty and most likely very smelly with cigarette burns all over his hands and clothes. Please see Jerry Garcia Band Shoreline DVD for reference.Thursday, October 29, 2009
September 6, 1985 Red Rocks Amphitheatre, Morrison, CO
Set One
Hell In A Bucket - Mick warns Bobby not to play too fast, then begins a continuous beat that’s prevalent throughout the entire tune – and fast. Concise and rockin’, typical of ’85, Jer splashing out some standard licks, but well. Enthusiastic, but barely in control – Phil’s holding it down.
Sugaree - Jerry’s voice is not too Kermit D. Froggy, the band settles down, Jerry’s swaying chords are on target, and he’s ready to take over mid-song, probably even smiling. Brent’s organ is nice and wharbly, revealing a pretty nice overall mix. Bobby’s rhythm can’t be detected – inconclusive whether it’s the mix or just the song. A very nice opening for Jerry Garcia.
It's All Over Now - I’m still not sure if Bobby’s guitar is even connected to the mixer. The drummers blend in a bit more, Bobby’s voice is calm, timing perfect. His excitement is escalating into the second verse, and I think I even heard some distorted clanging from his ax. By 2:30 we’ve got a fully cohesive jam. VERY NICE work from Brent in his solo, per usual. Uh oh, here comes the slide! It’s clangy, yet somehow fits in, and Bobby doesn’t appear to be lost… Jerry saves the end of it, and the boys ride the rest out well, Phil keeping it together and Brent throwing out some crazy backup on the chorus.
Bird Song - Jerry has to wait for the drummers to join in, obviously the start of a slow and long jam. It’s fairly typical for ’85, Brent creating most of the rhythm fill. The jam becomes somewhat disjointed in the middle, but it recovered with another verse around 6:30. Phil is loose and Jerry takes over the final 2 minutes, closing an unremarkable Bird Song.
El Paso > Brent flies into a hoppity, carnival-tempo take on a classic, which leads into some heavy drumming that’s becoming distracting, suffocating the potential for the mid-70s Bob Weir enthusiasm that accompanies this number.
Don't Ease Me In – In contrast to the all-too-common flat and, dare I say, executed performances of this song in the mid-80s, the boys play a concise, rhythmic closer, seemingly eager to get to their separate dressing rooms and array of illegal goodies backstage.
Set Two
Iko Iko – While the unnecessary Healy burp threatens the legitimacy of this tape, this fun, 80s-drenched performance features silky-smooth Jerry bars, a faithful and perfectly-pitched Phil line, and unobtrusive Mydland tinkles. Like much of the first set, it seems to end too soon without an extended jam – well played, yet lacking the outdoor-festival energy that often accompanies this opener and this decade.
Looks Like Rain – Perhaps the first well-adapted Bob Weir introspection of the night, the electronic haze surrounding his vocals highlights the years of heavy cigarette intake. The rhythm devils take the band through a smooth and popping bridge, which leads to some crowd-pleasing vocal improvisation, and a predictably repetitive peak to close.
He's Gone > Funky rhythm effects by Weir segue into a sweet ’72-born classic with no hints of the vocal struggle which often accompanies this collaboration in this era. It’s difficult to choose a favorite in this intricate interplay, until Jerry shines through a swooning Weir fill at about the 5 minute mark. All three vocalists choose their spots well, and this performance shines as a comfortable, controlled song that highlights the beauty of the Grateful Dead. The close is not overly enthusiastic, but given the quality, it’s hard to complain.
Spoonful > A somewhat awkward transition led by Brent’s Hammond is grabbed by Weir’s distortion in the first blues and only blues number of the night, and Mickey Hart is preemptively prepared for drums with some felt-tips and gloves. Weir hangs on for a nice, heavy transition into the drummer’s free time, which in this year is certainly a high point in Grateful Dead history for the pair.
Drums > Space > gong-heavy, hazy, and consistently rhythmic, the two are worth staying at your place for. Well, maybe not during space…
The Wheel > a cool Garcia outro from space, this is an energetic return to Earth, with the drummers still adding a great deal of musical quality. Phil shines with his decisive engine of sound, and another quick ending leads to what appears to be a bluesy Black Peter.
Black Peter > The first verse is a struggle, and Jerry noticeably picks up the focus in the ensuing lines. In contrast to the 1970 requisite performance, this is less about lamentation and storytelling, and more about playing a full, post-drums crowd pleaser. The drummers seize every opportunity, and it becomes apparent that Brent has stepped into a secondary role for the final set. Despite this quality, the listener is still left unsure of what becomes of Peter.
Throwing Stones > this post-drums staple of the era is Brent-heavy, enthusiastic, and truly a Bobby showcase. His vocals are loaded and his feed not heavily tampered with, and Jerry’s triumphant middle bar is not overly inspiring. At six minutes, the familiar vocal stagger is perfectly executed, and Weir manages to keep the group from ripping into the inevitable Not Fade Away.
Not Fade Away – perhaps the most fitting rock ripper for the drummers, Jerry perks up for some interesting interplay with Phil a minute in, and the band breaks the calm, consistent element which has controlled most of the night. One of the few drawn-out tracks of the show, the drummers salute an enthusiastic outdoor crowd in what has surely been a fun, yet subdued night in the mountains.
September 7, 1985, Red Rocks Amphitheatre, Morrison, CO
Set One –
Tuning/Bobby Intro – Reel opens with fan discussion, laughter, and excitement. It must have been cool to see THE band set up in the mountains at Red Rocks, one of the world’s best outdoor music venues. Lots of “wheeeew!” , “ohhhhh!” , and “YYYYIIIII YI-Yi-YI!” ‘s going on from the crowd. I wonder if ‘pre-show sizz’n” was much different back then? Weir starts doing his typical middle finger hammer on to test the metallicness of his axe, while Mydland begins tinkling around on his synth. Bobby starts to say something in the mic, but Healy puts some creepy delay on his voice, and what he says is not understood. Fans seem to dig this, so it must have been a new thing in the 80s. Something weird is bound to happen because it is only Mydland and Weir on stage and Bobby is talking. What are we going to get?
“I am going to take this time to regale you with a song that I may not remember” – Weir
Frozen Logger- When I first heard this song, I had no idea what it was. Still don’t, but I did a little research on it. According to Wikipedia, It is an old American Folk Song written by James Stevens (who wrote (Paul Bunyan in 1925) The Grateful Dead played it 6 other times in late 1970 and once in 1971. Also, played it at a rehearsal at ACE’s Studio in 1975. The best of these is 12/26/70. Anyway, this is not as exciting as it may sound. Healy is out of fucking control, and extremely unnecessary. I think there might have been some doses going around backstage. I think I can make out Bobby, Phil, and Mickey singing (more like yelling/screaming/talking) the lyrics to this song. Only Weir seems to be playing. I am not sure what happened to allow this to happen, but whatever. After struggling threw a new verses, he approaches the mic and says “I can’t remember the last verse, I am getting outta here” After this, the fans are HILARIOUS. They keep quipping anecdotes about how the ‘show is over’ and that they were ‘going to retire after frozen logger’. Cheers from the crowd erupt, but there is still time left on the track, lord knows what it will entail. In a few seconds, a kazoo approaches the stage, and starts trying to play the Star-Spangled Banner mixed with Healy being awful. Not sure who is on stage doing this, all I know is that I wanted it to stop. Finally, it does, and the rest of the boys come out for some drum hitting, pedal testing, and organ wailing. Here we go…
Mississippi Half-Step- After Garcia gives away that this is going to be the opener, they rip in to a roaring Half-Step. This night is off to a much hotter start than last night’s Hell in a Bucket. Bobby is relatively prominent in the mix, but it is pretty similar to the tape from the previous night. Lesh, Weir, Mydland, and Garcia dance around the melody. During the last solo break, Garcia rushes into the “Across…” coda. The drummers begin to be a little sluggish, but that is to be expected. Mydland’s twinkles are surprisingly tactful (ex. 6:31 mark). Bobby’s playing is amazingly ‘73ish, which is a nice, welcomed surprised. A structured ending wraps up a hot start.
Minglewood Blues – Bobby starts this off with his weak ass tone, and poor slide work. Somehow, this structure works in this tune. Drummers slop around, but then kick into high gear with Brent for the “Wanted man…” verse. Jerry is melting his low note passage, lets the listener know that they are in ROCK MODE with his first solo. Weir claims that the “Denver Phillies” sure look good. Mydland’s solo, is good, but a bit more timid than it would become a couple years late. But the drummers have been awakened. Oh Lawd…here comes the Weir slide, RUN! It actually starts cringe free with decent tone. Admittedly, I turned down my music because I was afraid the guy next to me would hear it. Jerry comes in to save the day with a rockin’ solo. Quintessential ’85 drums finally come out at the 5:00 – 6:00 minute mark. (“T right here in Dever”). A PhilBomb erupts for the last verse (~6:48). It is now certain that this set is going to be a pickup from the relatively sleepy previous night.
Brown Eyed Women- Starts out nicely with the guitar players all playing along to the melody. Jerry’s heroin strained voice makes it out ok on this one. Bobby is playing absolutely perfect here, and has some decent tone to boot, meanwhile, Phil is playing more of a driving bass than usual. Drummers are fired up and clang’n HARD. In a Persain daze, Jerry forgets some words, and sounds like Oscar the Grouch when he comes out of his banjoy first solo (“Delilah Jones…”). Bobby is using his distortion to (positive) effects. Best song of the night thus far.
Brother Esau – What a setlist! Much like Bucket, this song is highly dependent on the drummers and Garcia’s standard licks. Unlike last night, both of these are ON. Brent is extremely low in the mix. Drummers are being tastefully aggressive, and Brent is overlaying some nice chords on top of the rest of the band. Healy fucks up the ending trying to do something really dumb I am sure…
Loser- Quick start. Bobby Van Halen comes out before the first verse (hilarious). This song is probably the most successful first set Jerry tune in the Persain, Cigs, ‘n Heineken years and this version is no different. Kermit crawls during the first chorus. Mid-80’s harmonies are extremely lazy, bad, and ciggy, and this ‘last fair deal’ is certainly going down as such. Brent seems silent during this tape, leaving a lot of room for some sweet Weir licks, giving this reviewer a serious ‘edog. Love the mid 80’s raucous Loser solos. It is kind of unjustified that Garcia gets MEAN with his tone for the solo here, but it somehow works. Kermit and the gang come out of the solo for another chorus. Set one continuing to be quite hot.
After the song, a fan SCREAMS for Lazy Lightning (played twice in the past year). Presumably the same guy who screamed for it last night. This reviewer does not blame him. LL was last played 10/31/84, and that was the final time.
Dupree’s Diamond Blues- Two Jerry songs in a row? What is up with that? LACED with acid, Garcia’s Mu-Tron III pedal makes it’s first appearance, and it is under heavy use. This song relates well with one of the Estimated Profits, but hopefully it didn’t ‘cost him his life’ as it did for Dupree to get his ring for his true love. Phil is driving the song, and Garcia’s Mutron solo is VERY aosm. After the song, Jerry sleedles around with his pedals, and gets the stranger tone going. As he runs through the scales, I can’t stop thinking about how amazing, and unique, this tone is.
One More Saturday Night- Nice placement here. This fist set has been a rocker, and it does not stop here. I am guessing this song was included because it was Saturday and because of the opening lyric “I went down to the mountain, I was drinkin’ some wine” This song, like Greatest Story Ever Told and Tennessee Jed, introduces new chord changes during the solo. This is a total Grateful Dead move, and it gets me every time. Brent finally is out of his shell. Bobby (in a preview of what is to come) is a little too excited and sings/yells “Sat-ta-ta-ta-ta-urday Night” over and over.
“We’ll be right back” – Bob Weir
Set Two –
Shakedown Street- Phil is loud on the intro. I have been a little disappointed in the mix to start because Phil is a little too soft. As the singing starts, Garcia does his best beached whale impression, but as always in ’85, his guitar playing is on. Phil and the drummers are playing assertive, and Mydland is quiet in the mix. Weir’s tone is unbearable in this song sometimes. The fact that he changed his tone is one of the worst things to happen to the Grateful Dead. As the jam launches after the verses, Brent is finally a player. Everyone is running on all cylinders, and it looks like the intensity of the first set is going to spill over into set II.
Crazyfingers- Brent and Mutron are playing a nice duet to start. Brent Mydland was a fantastic addition to the band when he came on. It was a change of pace that the Dead needed, and it turned out to be a perfect selection. That being said, Brent can be very clunky, and is often on top of the sound, rather than with it. That is not the case during this intro. He is driving and pleasant. Jerry is getting a little Persian hungry and is forgetting lyrics all over the place. His voice is sounding pretty bad. Jerry’s solo is nice, and Phil is very melodic behind Garcia’s lines. Drumers are again, powerful but subtle, and Lesh leads the outro masterfully. Around the 6:00 mark Jerry starts rotating between major and minor scales to perfection. A drum cadence begins, perhaps leading to Drums, but after 2 songs and a (hopefully) GLARE from Weir, it is Samson time.
Samson & Delilah- Yes! A ferocious start to a song that can be sleepy in this time period. Drummers are the driving force behind it with Weir’s rhythm playing. Bobby says “You got it” after the chorus, so funny.
Uncle John’s Band- Most ciggy song of the night. I can’t even imagine trying to introduce someone to the Dead and having them hear these harmonies. They are truly terrible, but to fans it goes unnoticed. Jerry leads the gehs with wrong lyrics, but they go with the flow. Phil has a nice melodic bass lead from 2:50 – 3:50. As the outro evolves, Jerry does a quick dissonant lick that he often does with the Dead. This lick is something no guitar player ever does, and even Jerry never does it with JGB. As the vocals return, the harmonies somehow are worse…oh well…80’s dead…One would expect drums to come as Garcia is hanker’n for some pers. But he surprisingly is the one to lead them into
Playin’ in the Band- Here we go! This is perhaps the biggest separator of the Profits, a mid-80’s Playin’ in the Band. Brent truly brings something to this song that no other keyboardist could. His organ chord overlays are spectacular. Bridge has some of the most intense, productive drumming of the might. Weir’s voice is beginning to go. At 2:45 it is launch time. Bobby takes charge early, and at 3:50 Phil makes his move. At 4:10, Phil changes the mood of the jam, in turn causing Weir to just play annoying loud cringe inducing noises. At 6:00 there is a Mexican Hate Dance teaseThe drummers are getting VERY hungry for Drums, and struggling to keep their drum boners down. At the 8:20 maek, the jam takes a turn towards a weird messed up carnival.
Drums- Well, time for me to take a piss. Actually gets off to an interesting start. At 3:55 it turns weird. Very tribal, and 6:57 the weird noise time begins. It sounds like there is a weed whacker on the stage at one point.
Space- Jerry starts it with some pointless drabble. 2:40 drums come in for a stable beat.
Dear Mr. Fantasy- Still in it’s infancy (only the 10th time they played it) this song starts off with just Garcia. Love his tone here, pure power. Brent keeps singing “Straight man you had” Jerry breaks out an Estimated/TS-esque triumphant solo. 3:22- 3:30 Garcia doing some serious aprpeggios
Hey Jude- First time they broke this out and the fans are EXCITED. Brent is taking the post-drums lead. Bobby ridiculously/embarrassingly tries to become part of the action by screaming as loud and high pitched as possible. Phil even enters the action!
Dear Mr. Fantasy Bridge attempt train wreck
Truckin’ – This is shaping up to be quite a show. Love the placement of truckin’ here. Jerry is attacking the low notes. No other guitar player plays low notes like Garcia. Phil is amped up ~3:00. Drummers are getting extremely excited about the SURGE, however jerry abandons it for
Comes a Time-Brent and Jerry lead into this nicely. 1:19 is a perfect example of subtle Weir guitar work. Wonder what would have a happened if Garcia’s voice wasn’t ravaged by freebasing. I very much enjoy this song, and this is a solid version, although it is sad at times to hear the singing so bad. Jerry takes a harsh tone in his solo with a little delay. Works out well
Lovelight- Comes in smoothly out of Comes a Time. Perfect ending to a wonderful run at Red Rocks. Brent and the drummers are very prominent with cymbals crashing everywhere. The Weirmucousmonster mouths the following:
“we all get lonely, tim to time,
Part of your problem , part of mine,
Need somebody make me feel alright,
Need somebody help me through the night,
Listen here for some free advise,
What you go to do is try to be nice,
Right next to you,
Somebody me be lonely to
Turn to that person and say ‘how do you do?”
You ask that person if they have a light inside,
If they Do, are the just gonna let it hide?
Or are the gonna turn it up?
Turn it up?
Talkin’ about lovelight love light love light…”
Bobby is tright to see how big of an “H” soulnd is possible to make.
Encore:
Johnny B. Goode- Phil very bouncy during this rocker
It’s All Over Now Baby Blue- This is an excellent version of this song. Jerry is completely awake and very excited.
Grateful Dead Show Reviews
So as you might have noticed, a primary interest of ours is the Grateful Dead. One thing we hope to accomplish with this space is to produce thorough, interesting reviews of live shows that we've been listening to. We've been listening to shows for years, but have never put them into context in a lasting way. We will sample different time periods, primarily on two or three night runs at different venues. This will be known as the "Ear of the Week". Hope you like it!
Estimated Profits: Beginnings
Welcome to the Estimated Profits Blog. The theme of the blog is things of interest the Estimated Profits. This includes, but is certainly not limited to, the Grateful Dead, sports, music, the economy, commodities markets, politics, and humor.
Check back for frequent updates on these topics.
Check back for frequent updates on these topics.
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