Wings Spread Wide

Last year at this time, word had begun to leak that there was going to be a new 1977 box set coming from Dead.net. Before the dates of the set were released, I was hoping that the set was going to be the five night Palladium run. It was sited as being a five show boxset so I was hopeful, until they mentioned that none of the shows had been released in any sort of way. The following night (4/30) was released as part of the Grateful Dead Download series. Maybe my dreams will come true in later years, but for now I'm waiting on another announcement. Some runs that should get attention at some point; Europe 81, Orpheum 76, and Red Rocks 78. Till then download the soundboard of the show HERE and HERE.

This is the first Grateful Dead show in New York City since the year beforehand at the Beacon, which was the first run in four years. The Beacon run features one of my favorite "Help/Slip/Franks," and the band picks up right were they left off with a soaring version of the the trio. A little extra mustard and salt is sprinkled on the "Slipknot," adding some depth and attitude to the opener. Before "Franklin's" comes steaming in. They give some flexibility to by opening up space for a delightful Phil solo, as the "Fore winds roll us gently home." At the end of the song the band takes a cigarette break and the audience goes into a frenzy of song request calls. The funny one that you can make out is "Alligator," which was preformed for the final time six years to the day. The first set is punctuated with a gorgeous "Loser" and rambunctious "Music Never Stopped." The "Loser" is spectacular, and is the perfect example of how a song from six years can sound revitalized and reach new highs.

The band opens the second set with a crunching "Samson," before letting loose on a sublime "Sugaree." This is another song that was starting to flourish in 1977, where the band was not afraid to push the song past the 10-12 minute mark. Really exploring the songs every realm. Bobby quickly picks up the end of the song and speeds through "El Paso." A lucky fan calling from the gallery gets his wish, when they play "Brown Eyed Woman" seconds after he calls for it. Next the band builds on opening the set up, when they rock out an "Estimated Prophet." As the juices start flowing the band quietly sneaks into "Scarlet," which gets wrapped up in "Fire" jam, before being paired for the first time with "Going Down The Road Feeling Bad." It's the only time the two songs were paired together, but a familiar "Not Fade a Away" jam comes out of "Going Down the Road" before being bailed on for the drummers. Jerry's slide rolls the band into "The Wheel." This slowly comes to a stop as Jerry slides into "Wharf Rat" and the crowd very enthusiastic approves. Garcia really throws his heart into it as he sings the sad ballad. "She's been true to me" lyric fades as the band kicks it into gear for the set closer of "Around and Around." The marvelous encore of "Uncle John's" leaves the audience dancing on through the night. 

I: Help, Slip, Franks, Minglewood, Jed, Cassidy, TLEO, Big River, Loser, Music

II: Samson, Sugaree, El Paso, BE Woman, Estimated, Scarlet, GDTRFB, NFA Jam, Drums, Wheel, Wharf Rat, Around E: Uncle John's

The JGB Finale

Ask any DeadHead when was Jerry's last show and they will rattle off, Soldier Field 7/9/95, but ask them the last Jerry Garcia Band gig and you'll get a blank stare. So I'm taking this opportunity to break this trend. Today is the anniversary of the final JGB show and as a DeadHead would imagine it occurred at the Warfield Theatre. Jerry played more shows there than any other venue. His first gig there was with the Grateful Dead on 9/25/80 as part of the 15 anniversary tour. Over the next 15 years he would play a total of 120 nights there with the Grateful Dead, Jerry Garcia Band, and Garcia/Grisman band. This was his final show here. 

Most DeadHeads dread listening to anything for 1995, because Jerry was not at his best but on this night he wasn't at his worst either. The most played song by JGB, "How Sweet It Is" opens the show. As most JGB shows, Jerry fills the set with songs he loves by artist that he listens to. This show features nods to Dylan, Van Morrison, and the classic Band tune "The Night They Drove Old Dixie Down." 

Garcia did at one point try to make JGB an alternative place for songs that he penned with Hunter but that was quelled when he claimed to have given away as many copies of "Cats Under The Stars" as were purchase in the record stores. He plays two songs off of this album in "Run for the Roses" and maybe his most loved song "Reuben and Cherise." A song the Grateful Dead played 3 times in 1991, even though it was in his solo band rotation from 1977. He closes the show with the upbeat "Midnight Moonlight," which he had been playing since 1973 with Old And In The Way, a band that was started with his compadre John Kahn. This was the last the two played together on stage. 

The last two songs Jerry recorded with JGB was "Coffee and Cigarettes" and "Smoke Gets In Your Eyes" for the movie "Smoke" soundtrack. He went back in the studio after Soldier Field with David Grisman to record "Blue Yodel #9" for the Jimmie Rodgers tribute album that Bob Dylan put together. So he had a couple of more months of creating music after this finale. 

Download the only available AUD of today's JGB show HERE and HERE.

I: How Sweet, Stop That Train, Simple Twist, Run, You Never Can Tell, Sis & Brothers, Deal

II: He Ain't Give You None, Struggling Man, Think, Reuben Dixie Down, Midnight Moonlight

The Brent Mydland Meltdown

Certain jobs don't allow for the occasional mental health day. I know as a kid, faking sick to stay home from school every once in a while was a necessity. Recharging the battery helped to get myself together and get me back onto the road to the place I needed to be to coup with the daily stresses. Musicians and athlete's work around gigs and games so they are not allowed to call in sick for a scheduled event.

On this date in 1986, the stress of an on going divorce and the fear of losing the relationship with his young daughter boiled over on poor Brent Mydland. In a show that featured some very energetic the depressive situation causes Brent to lose it during the final version of "Maybe You Know." 

The audience feels the different type of vibe when Brent doesn't leave the stage for "Drums." Instead he stays on playing off Billy and Mickey, before skipping "Space" and rekindling a haunting "Maybe You Know" for the first time since 4/26/83. Brent struggles to keep the song together and ends up pretty much confusing the drummers for the direction of the song. Pulling the final verse out he sings, "maybe you don't know how I'm fucken feeling, but maybe to you it don't seem so real" as he starts to breakdown. His bandmates sense his distress, and Garcia quickly tries to change the mood by infusing a lively "Going Down The Road," which Brent barely plays keys on, although he does chime in with "Feeling bad bad bad." Jerry then turns to "Morning Dew" to speak to Brent. Singing "I thought I heard a young man cry today" and "I guess it doesn't matter" are directly sung to him. Brent is pretty despondent the rest of the show. He doesn't play keys after "Going Down The Road," though he sings on this and a little on "Not Fade Away."
The next night the band's opener seems to address this Brent meltdown. For the first time the boys open a show with the Phil Lesh classic "Box of Rain." Download the Aud of Brent meltdown show HERE. Below is a picture of Brent and his daughter at the keys from Shoreline in 1990. Him and Barlow penned "I Will Take You Home" for his little girl, and it was a favorite song of my son to fall asleep to as a baby. This song is also Barlow's favorite Grateful Dead song he wrote.

I: Half Step, El Paso, Row Jimmy, Esau, Cumberland, Desolation Row, Ramble, Let It Grow

II: Touch, Estimated, Eyes*, Drums, Maybe You Know, Dew, Around, NFA E: Don't Ease*

*with Jose Lorenzo

Maybe You Know How I'm Feeling

Today we go back to another show from the Spring 1983 tour. Last year I featured the two Meadowland gigs from this tour, which featured the special guest appearance by Stephen Stills. Earlier in the tour the magical combo of "Help/Slip/Franks" was rekindled in the lineup for the first time since 1977. This of course means these were the first time Brent Mydland got to tackle this combo.
This was the band's second ever performance in Vermont and it passes the James' litmus test for a great 80's show because it features two Brent songs. This is the first time that the Bob and Jerry show had two songs sang by the keyboardist/vocalist since 5/26/72, when Pigpen sang a couple of tunes in the Europe '72 finale. The two Brent tunes are not the only reason why this show is great. It is a torrent affair. A night where everything click. Oh yeah and there is a massive Morning Dew. Download the SBD HERE and HERE.

My love for this show goes back to the 90's and my tape trading days. I remember I only had the second set of this show on the heavy duty black Maxell xlls. I even remember that I used a green marker to write UVM and blue for the date. It was lucky that it was a black Maxell because I listened to this show incisively. So the first set is newish to me. Although I've had this show since discovering archive.org. The show ignites with "Jack Straw." "West LA Fadeaway" is less than a year old and this one seems to be loose and venturous. The cowboy combo has a welcomed twist with "Mama Tried/Cumberland Blues." The "Cumberland" is electric, Jerry is on fire and provides an electric solo. Unfortunately the set closer of "Might As Well" is missing from the digital copy. 

I first got this tape around the same time that Dick's Picks 6 came out, which is from the same year and features similar second sets. But this show got listened to far more than the 10/14/83. The second and third digital drop outs occur during the "Scarlet," but the "Fire" is clear and fabulous. As if the "Scarlet/Fire" weren't enough, the band follows it with another sublime combo of "Estimated/Eyes." As the "Eyes" fades the drummers try to claim the beat but Brent stays on and debuts "Maybe You Know." A real spirited version of the tune before leaving the drummers to their craft. Please remember this tune because my next post will center around this song.

If I can make a request, please listen to this "Dew" with headphones on at some point. This is the first time that a "Morning Dew" comes out of "Space." They would do it a handful of times afterwards but not as magical as it was on this night. "Throwing Stones" gets called for next, and like the "Dew" beforehand has a lengthy intro. Then the boys close with a bone crushing "Good Lovin'." They then encore with the third song that was debuted in 1982, with "Touch of Grey."

I: Straw, TLEO, BIODTL, West LA, Mama Tried, Cumberland, Ramble, Far From Me, Esau

II: Scarlet, Fire, Estimated, Eyes, Maybe You Know, Drums, Space, Dew, T Stones, Good Lovin'

E: Touch

The next Dave's Pick has been announced. The first night of this run was going to be a blog last year for the Special Guest year, because Stephen Stills sings on "Lovelight," but I went with the Branford show from 1993. Regardless this is the best album artwork yet. "Sleepy Alligator…"

Was Closing The Door

On this date in 1990 the famed Spring Tour came to a close. In spectacular fashion the band closed out the tour with a barn burn in Atlanta's Omni. There were many hot shows from The Omni, if you follow me on unsocial network, you might have seen that 3/30 was the twenty year anniversary of final Grateful Dead Dark Star. Another Omni occurrence on 3/27/95, Garcia and the boys played close to a 20 minute "Sugaree" and 25 minute "Uncle Johns," in a manic show. This show also has my favorite "So Many Roads," but this is my favorite show from the venue, and not just because they played two Brent songs. Download the SBD HERE and HERE
The show opens with the excitable double opener of "Shakedown" and "Hell in a Bucket." Shows like this means that band is rip roaring to go. The "Shakedown" is thick like a milkshake that you cannot fully suck up that straw. The "Bucket" is sharp and makes room for a splendid "Sugaree."
The second set blasts off with a methodical "Estimated." There aren't too many "Estimated" set openers but when they do they are normally well played and longer than usual. The jam moves into the bright passageway that opens into "Scarlet Begonias." Earlier in the tour, the band opened 3/16 with "Scarlet/Estimated" and this show they flip the combo. The "Scarlet" is extreme lively and almost mistakenly moves into "Crazy Fingers." Spring 90 tour featured three "Scarlet Begonias" and only one "Fire on the Mountain," which speaks to the band's comfort and confidence to move in and out of combos and keys.
The "Playin'" may be shorter than the "Estimated" but the jam is very consistent and energetic like the early 70's version.  This might be why this "Space" is particular weird and light after such a tight "Playin'" jam. "Drums/Space" transitions into the familiar "I Will Take You Home," before charging itself up in "Going Down the Road." This sets up the popular "Throwing Stones/Not Fade Away." With the fun audience banter "Mmmbop" ending to the set. The tour closes out with the encore of "And We Bid You Goodnight," which the band would only play two more times.

I: Shakedown, Bucket, Sugaree, We Can Run, Masterpiece, Row Jimmy, Picasso Moon, Jed, Promised

II: Estimated, Scarlet, C Fingers, Playin', Drums, Space, Take You Home, GDTRFB, T Stones, NFA

E: Bid You Goodnight

My First Show

Findng your way into a new phase of your life starts with a initial step forward. Becoming a DeadHead, might be the most accepting society to matriculate yourself into although there are bums along the road. Some times you'll be made felt less than because you didn't tour with band in the Fall of '89, Spring of '77, or saw a show with the Wall of Sound. A lot of that ageism has fallen by the wayside being that a freshman in college was not alive when Jerry walked the earth. I don't think I've held anyone to this standard because I was 16 in 1994, when first exposed to the Grateful Dead and it is my opinion that it is awesome that kids are still finding their way to the music of the Grateful Dead. Their mystical musical journey stretches across the ethos and the off shoot bands that keep the music alive. Phil Lesh's son just had a baby boy.  One day will he want to perpetuate his grandfather's legacy and be playing the music of the Grateful Dead at Terrapin Crossroads into the next millennium? Jerry in an interview in the 90's, said that he'd like to live to 2000 to see what that millennium had in store. Even though he did not, Jerry Garcia's musical legacy continues to grow and could continue to reach people until "there was no ear to hear, you sang to me."

I saw my first live music concert 20 years ago today. I was a little grunge boy, who was pretty obsessed with Pearl Jam, Stone Temple Pilots, and of course Led Zeppelin. This had begun to change with tapes like Junta, Seven Turns, and American Beauty slowly being put into my rotation. So when my friend Matt asked, "Do you want to go see the Dead with me?" My answer was pretty ambivalent and if not for his persistence I probably would have skipped out.

We got bracelets to get our place in line. I skipped buying a bag so I would have the 35 bucks needed to get a ticket. His number put us in a better position to get tickets and I gave him money so he could go into the Toy Box and pick up the tickets. So weird a spot for a Ticketmaster but it had been like that for a long time. Across the street from the Toy Box, there is a large park along the water where I used to play baseball. I remember seeing weirdly dressed kids sitting in folding chairs in front of there while I maned Left Field. "What are they doing there?" I used to think and six years later I was one of the kids there. After getting the tickets, I basically forgot about the up coming event as I got sucked back into hockey and my life as an emotionally troubled high schooler. 

Days beforehand, Matt and I realized that we didn't have a ride to the show. I didn't have my license and his mother wouldn't let him drive over the bridge to Long Island. So we recruited a friend who was a year older to give us a ride. As I mentioned in 'If It's The End Or Beginning', JP, all these years later would give me my first tattoo. Since he did not have a ticket he got two friends, Matt and Brian to join him in partying in the lot. 

That afternoon we all met up and piled into his Jeep as the rain poured down. First we went to Deli Express to pick up road brews, I bought a four pack of tall boys. I remember sitting at a 45 degree angle drinking my tall boys as it rained buckets driving to Nassau Coliseum. As the only Islander fan in the car I laid out the directions to the venue. So the lull of the road, the angle, the raindrops, and beer swept me off into a daydream. By the time I snapped out of it we had missed our exit on the LIE. We got off at exit 42 and backtracked to exit 38 to jump on the Northern State to the Meadowbrook. We pulled into the parking lot as the rain tapered off and as most fans had already made their way into the venue. 

We briefly walked around the parking lot; I bought a shot of Vodka and a gooball and walked into the venue. We made it to our seats just in time for lights and the opener "Let the Good Times Roll," an old R&B song that I was familiar with thanks to my mom's oldies radio station. I watched the guy next to me, who was about forty dance along to the music. It made sense to me and I kind of emulated it. I was getting into the groove. I felt very comfortable with these new surroundings. I wasn't going to drop out and go out on the run but I was very happy to be there then. Most of the first set was a blur. I didn't know any of the songs but it didn't matter. I was catching lightning in a bottle and it was just a matter of harnessing it's energy. 

After the set ending, we walked out into the concourse and I made my way to the merchandise table. I scanned all the shirts and bought the cheapest one. It so happened to be a spring 94 show itinerary shirt. It's a shirt that I kept and still have today, despite that it's gone a little yellow with the years.  

A massive choir of "Rain," flourished as the second set opener, filling my eyes with stars. I didn't connect the downpours that we drove through with this song, even though it seemed so simple. When my eyes were open to it, a new portal of music speaking as a melody but as a commentary of the surrounding is inspiring. As mentioned, I owned"American Beauty" at the time and yet didn't recognized the two songs that I saw from that album. Instead, the song that stuck with me is "Going Down the Road Feeling Bad." Although I don't remember knowing the song the easy lyrics stuck in my head. It must have been cemented in the less then comfortable ride to the venue.
After the show we walked out into the parking lot and ventured over to a large bus that was bopping dance music. A dance party had erupted in the middle of the parking lot, where some cars had cleared out of the way. We had started to move into the mix when the mounted police came through to break up the fun. I remember almost getting tramped by a horse, whose leg came up to my shoulder. We jetted back to the car and met up with the guys who had had their own adventures and we talked about it all the way back home.

I don't remember school the next day. I probably wouldn't remember the concert all that well, minus the "Going Down the Road," if it wasn't for the tapes. A bunch of other friends from high school experienced that show also as their first. The guy I had gotten 100% of my tapes from, Jeff, acquired the tape and circulated it among the seven of us that saw our first Dead show. It was of course the most cherished in my collection because I was there. So take a friend to a Ratdog, Phil and Friend, Dark Star, or Mickey Hart show. It might just be one of those life changing events for that person.

Download the SBD HERE and HERE, or the AUD HERE. At the AUD link and THIS link you can read the glowing reviews of this show by fellow Heads that might not be as bias as I am.

I: LTGTR, Bertha, Greatest Story, West LA, Masterpiece, Roses, BIODTL, Peggy-O, Music
II: Rain, Victim, Box, He's Gone, TWBS, GDTRFB, Drums, Space, Watchtower, Days Between, Lovelight E:Brokedown

Some updated pics that I've found d of this night. Also my friend at Setlist Tee's made a shirt of this night also. Oh then I got a new guitar too. 

The Compass Always Points To Terrapin

Today in Grateful Dead history we go back to the famed year 1977. Although this is the third show of 1977, it's the first one that exhibits the tightness that makes this year so famous. This was the first night of a three night run at Winterland. They played 10 gigs at Winterland in 1977; three in March, three in June and four in December. The three June shows are an official box set and pieces of the two of the December shows are part of Dick's Picks 10. Yet of all these shows, this was the first one of any of them that I got as a teenager. I only seeked out this show because it had the first "Fire on the Mountain" and the only time that they used the coda "Terrapin," the "At the Sliding" instrumental, which is titled "Alhambra." Download the soundboard of this night HERE and HERE.

The first set soothes like a thin piece of butter on warm piece of toast. The rare extended solo over the verse of "Mississippi Half Step," the vibrant "Cassidy," and the delicate "Peggy-O," all set up the first ever "Scarlet/Fire." There is much less "Scarlet" than there is "Fire" in this first combo, but the new vehicle is their chance to explore. The band is full speed ahead on the melody even though Garcia is no where close to being set on the lyrics but "More that it gives the more it will take." Clearly jazzed the band excel as they build and build the "Scarlet" rift that ends this set.

The second sets starts with a crashing "Samson" and sparkling "Good Lovin'," before getting to the nitty gritty in a dark beautiful "Estimated." Although this is just the tip of the iceberg for this song, it does start the band's exploration of this time signature. The "Terrapin" is more formed than the previous two. As it seems like they are more comfortable with the tune. As the jam crashes to a halt there is some indecision with the band as what to do next. They have obviously enjoyed the tune and want to stay with the groove which props Garcia into the "Alhambra" jam with Phil in tow. Jerry is not at all prepared for the "At the Sliding" lyrics so it's just a jam before the drummers take lead. The band cuts loose on the "Not Fade." Listen at the 10:38 mark, where Garcia makes a sound with his guitar like a balloon letting all it's air out. The crowd goes nuts as the band starts to make the ascension to the conclusion verse. As the lyric chant fades they pick up the often paired "St Stephen" before closing with "Around and Around." The night cap is "Uncle John's," which was the most common encore of 1977 along with "US Blues" and "One More Saturday Night," all being preformed ten times there. 

I: Promised, Half Step, All Over Now, Sugaree, Minglewood, Peggy-O, Cassidy, Scarlet, Fire

II: Samson, BE Woman, Good Lovin', Ship, Estimated, Terrapin, Alhambra, Drums, NFA, St Stephen, Around E: Uncle John's