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.

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

June 7, 1977 Winterland Arena, San Francisco, CA

Archive Soundboard Link: http://www.archive.org/details/gd77-06-07.sbd.sacks.1861.sbeok.shnf

            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 33^rd 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 31^st 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.