1978-01-22 - McArthur Court

Venue: McArthur Court - Eugene, OR
Tape History: SBD (AUD by Reinhart Holwein, download here)
Release History: None

Set 1
New Minglewood Blues, Dire Wolf, Cassidy, Peggy-O, El Paso, *TN Jed, *Jack Straw, Row Jimmy, The Music Never Stopped

Set 2
*Bertha -> Good Lovin', Ship of Fools, *Samson & Delilah, *Terrapin Station -> *Drums -> *The Other One -> *St. Stephen -> *NFA -> Around & Around, E: U.S. Blues

Comments:
04/18/2016: This show is a great introduction to 1978 Dead if you've yet to dip into that much neglected year. This was my second tape, after 07/08, which will be officially released May 2016. The early winter tour took place mainly in California except for this date, the tour's conclusion. (They took off with a six show Midwest jaunt about a week later. Two exceptional shows, which were combo released as Dick's Picks 18, reviewed here and here.) One day, I'll end up posting my review here for 07/08, but for now, let's dig in to 01/22, a night where Jerry is on fire throughout and the band never ceases to push. The tape quality is excellent. Phil is high on the mix, but not overpowering other levels. Bobby is equalized to the right side, Jerry is in the middle, higher in level than the other instruments. Keith is on the left and, surprisingly, the drums are very low. It's a nice, direct intimate sound. You could never tell the show was recorded at the University of Oregon basketball arena.

Overall, the first set is fine though unspectacular. There is a lot of dead air after most songs in the first set. It's hard for the band to flow when they're pausing for more than a minute, sometimes three, between songs. You can definitely tell in the first half of the set, where songs such as Minglewood, Cassidy, or El Paso usually pack a punch and deliver an energetic effect. Once we get to Tennessee Jed though, it's clear something's changed. There's a very nice second solo section, driving to a peak at the key change and a swift crash back to the chorus. Great pacing and focus, the drums and Bobby driving Jerry to climb up the register. Here Jerry shows an amazing capacity to invent melodies as he's soloing. The crowd loved it and showed their appreciation during an extended ovation. Surprising us every step of the way, the band rips into Jack Straw, oddly placed near the end of the set. Keith really shines here and connects with the Rhythm Devils to drive Jerry on that Detroit Lightning out of Santa Fe. And drive he does. Pushing and pushing to find that combination of melody and tone, crafting winding lines that unexpectedly peak, effortlessly hitting chord changes while flying up the fretboard, fanning near the end of climactic solo as a lead-in to the last chorus. Crowd goes nuts. What a special performance of Jack Straw! These two songs are exceptional not only for this era. The set closes with Music, a classic 1978 set closer, having closed all 22 shows it appeared in. There's a nice solo section that doesn't quite match the intensity in Jack Straw, with a nice drop into the main groove yet nothing like the crash in 02/03.

The second is where the money is. Pure heat, nary a pause to be found with Jerry profoundly on fire for every minute. Bertha has some great ensemble playing, much more group-oriented than the highlights from the first set. Keith is working closely with Jerry here, supporting his playing by laying down guiding arpeggios and chords as Jerry nears the end of his solo. Samson has similar group dynamics as Bertha, something the group, and drums in particular, appear to relish. From Terrapin to the end of NFA we're treated to one of the finest sequences of music this band ever created. To start, the Terrapin seems like an unlikely candidate to set off what's to follow. It is magnificent yes, gentle and patient, exploratory and reflective. It segues into Drums before we descend into the maelstrom of The Other One.

It is truly epic, a certain candidate one of the best I've ever heard. A great intro by Phil and the drums drops us off into the middle of this swirling madness. Jerry and Phil are very clearly driving this beast. Jerry consistently weaves his triplets above the hectic movement beneath him. Phil plays the opening riff multiple times until the band is ready to dip into the verse. Great listening from the whole band, playing as an ensemble engine to Jerry's stampeding eighteen-wheeler. After the 9:30 mark, the drums begin to pick up while Phil and Bobby nearly drop out. Keith is trying to keep with Jerry, but it is obvious Jerry is in his own zone here. At the 12 minute mark, Bobby comes in stronger and Jerry states The Other One triplet theme and takes off again. The Rhythm Devils do an incredible job here, placing their cymbal splashes and rolling toms in unison with what the rest of the band is doing. Near the 13 minute mark, Phil comes in again and we're very clearly going into the second verse. That's a very long jam with multiple thematic changes between both verses. Exceptional work by all. Around the 15 minute mark, most everyone drops off, except for Jerry, the drums, and Keith, with Phil showing shrewd restraint, recognizing that the jam is developing just fine without him. Near the 17 minute mark, the whole band save Jerry drop out, and he and his mutron expand on a fantasia that finds him leaving no turn unstoned on his fretboard. Slowly, his solo excursion leads him to quote the melody from the film "Close Encounters of the Third Kind," which was released two months earlier. He teases it more and finally plays it as part of his improvisation and teases it some more, the crowd notices and you can hear their surprise at what's going on. He quotes it again before seamlessly transitioning to the riff from St. Stephen, skipping the common introductory melody.

Bobby joins first, then drums, Keith, and Phil. The tempo kind of lags, but it the tune picks up after the bridge. Bobby and Keith are totally in sync, Jerry continues to float above them, and Phil stays with the drums. When they drop into the main melody, prompted by the drums, it sounds pre-planned. A wonderful moment then transformed by the drums and the Bo Diddley beat into NFA. Phil and Jerry intertwine their lines, with Phil really shining here, his bass loping all over the place. Jerry stays hot and doesn't run out of ideas as he goes through the changes multiple times. Jerry briefly plays the Playin' theme, and the band gets real quiet for a moment before gathering intensity and dropping into their reprise of the first verse.

My highest recommendation for this show. Extraordinary second set and blazing playing by the band as a whole, and especially by the man in the black t-shirt.

1988-04-13 - Rosemont Horizon

Venue: Rosemont Horizon - Rosemont, IL
Tape History: SBD (AUD by Greg Holtz, download here)
Release History: None

Set 1
Half-Step -> Feel Like A Stranger -> Franklin's Tower -> Little Red Rooster, When Push Comes to Shove -> Queen Jane Approximately, Don't Ease Me In

Set 2
Sugar Magnolia -> Bertha -> Playin' In The Band -> Uncle John's Band -> Drums -> Space -> Playin' In The Band -> GDTRFB -> Morning Dew -> SSDD, E: Touch of Grey

Comments:
12-18-2011: This '88 Spring tour began lifting the band after Jerry's diabetic coma in '86. There seems to be a malaise settling on the band in the few performances in '86 and the overextended '87 tours. In '88, the cobwebs are beginning to be swept away and the energy is reaching for consistency.

Here we are, just past the midway point in the Spring '88 tour. First show of a three-night run at the Rosemont. They waste no time in getting to it by opening with "Half-Step." Although Jerry's voice sounds tired though, his guitar does not. They build to a hard, stirring peak after the coda section. The drums are turned up pretty loud in this recording. The heavy kick drum sound is way up front. You can hear how they and Brent urge Jerry to scale his solo ever upwards by stacking up fills and climbing through the keyboard's register. The drawback to this is that Phil is less clear in the mix. Hearing this level of interaction, wish such an up close sound is magnificent. The crowd appropriately responds with wild cheers to Jerry's "Half-Step" peaks.

They go even more wild as "Stranger" starts up, a perennial early first set favorite in this era to signal great things to come. I love the crowd's reaction at Bobby's line, "Let's get on with this show!" When Jerry takes off near the 4.30 mark, hold on to your hats, ladies and gentlemen. The solo with envelope filter lasts about two minutes, and it's non-stop melodic variations, hitting the changes even though he's creating new phrases and lines on the go. It's an incredible solo that only gets better as he shuts the filter off and goes clean. Bobby's playing under his solo is great too, helping rein him in to end the song. And we go straight into "Franklin's" after this?! Whoever doubted if they were feeling it this night, here's your proof. Unfortunately, the rest of the first set isn't even close to living up to this amazing trifecta. "Rooster," just like "Wang Dang Doodle" or "Walkin' Blues," is a rally killer. It's not that I don't like the blues, but these tunes slow momentum and alter the vibes of the sets they're in. And Bob's grating slide gets on my nerves. Dylan tunes (other than "Watchtower", and especially "Desolation Row") that are not encores have the same effect. I don't know what came over the band!

I get a feeling they're making up fort his with the way they begin the second frame: "Sugar Mag" to open followed by a rollicking "Bertha," that's a way to start! (Note that they did not go into the "Sunshine Daydream" section of "Sugar Mag". It will surely reappear before the show's over.) Although a relatively short version, "Playin'" goes places quickly, with Jerry going into overdrive leading the group to the cosmos and back to Earth to play in "Uncle John's Band." I rarely comment on "Space," but this one is odd and magical. It's basically an unaccompanied Jerry solo, with Bob occasionally chiming in. There are a lot of hints of other tunes in this jam, namely "Dark Star" and "Slipknot!" before the rest of the band enters and they maneuver their way to the conclusion of "Playin'." We get a special treat after a short of but hot "GDTRFB," a fantastic "Morning Dew." Brent and Jerry are completely in tune, using the subtle changes in melody to great dramatic effect. The Rhythm Devils also do a good job, as in "Half-Step", of pushing Jerry to reach higher levels. Take a look at Jerry's central solo, how there are peaks and descents in each line as he's reaching the chord change. Textbook Garcia. They end it with a brief rock n' roll "SSDD" and encore with their hit single "Touch of Grey."

This is the kind of second set that the opening three tunes of the show deserve. Yes, it's an uneven show, as many of them are, but there are great cuts in here and some inspired playing. Just serves as a reminder that even the least obvious shows in the least likely yeas have something to offer.

1982-08-10 - U. of Iowa

Venue: University of Iowa - Iowa City, IA
Tape History: SBD (AUD by Kenny Mance, download here)
Release History: None








Set 1
*Feel Like A Stranger, *Friend Of The Devil, New Minglewood Blues, Tennessee Jed, *Cassidy, *It Must Have Been The Roses, On The Road Again -> BIODTL, Stagger Lee, I Need A Miracle -> *Bertha

Set 2
*China Cat Sunflower -> *I Know You Rider, Lost Sailor -> Saint Of Circumstance -> *Eyes Of The World -> Drums -> Space -> *Iko Iko -> *Truckin' -> *Stella Blue -> *Sugar Magnolia, E: It's All Over Now, Baby Blue, E2: Johnny B. Goode

Comments:
08-12-2011: This is the last show of the July/August summer tour, following a two-day stop at Alpine Valley. In its truest sense, this is a sleeper show. A lot of folks would have skipped this show after Alpine and the preceding shows across the Midwest. It is these kinds of shows where you know the band is likely going to rip and let loose. And that they certainly do with this barn-burning "Stranger" opener. Jerry's leads in the breaks hint that he's ready to go and is just waiting until they unleash him. That they do in the solo section, as he rides the envelope filter, listening sharply to Brent. Together they create a stirring duet plus accompaniment section. An excellent opener, leading us to "FOTD," where Jerry, taking his turn through the end of solo, creates, shining hairpin turns with each line, leading up to the lyric "Got two reasons I cry away each lonely night." The band seems to have a clear grasp on the pace they want for this set. We get notable versions of standalone first set tunes.

After "Stranger" and "FOTD," the most noteworthy are "Cassidy" and the caffeinated closing "Bertha." In "Cassidy," they leave the general structure behind and take off with no flight plan. This is when the Dead are at their most adventurous. Jerry's manning the ship and Bob is urging him ahead with his high register rhythmic strokes. You can feel the big shift coming for the "Flight of the seabirds" lyric, and the longer they keep from it, the more tension increases. In the end, the tension led to a smoothed-edge (not an explosive) transition back. Pairing it with "Roses" is a great touch, and a fine mid-set development. This set illustrates what is so great about 1982. There is plenty of intuitive, sensitive playing, with energy to spare. Phil is invigorated, taking chances and pushing the playing. Jerry and Brent are dialed-in, chasing each other throughout the solo sections. In videos of the band in the '80s, you can see them look at each other and smile when they know they are doing something great. I can imagine that happening here many times. Another note about this first set: this is the second "Stagger Lee" since 1979 (the first was six days earlier), and the last for three years (Greek 1985), before staying in regular rotation.

Here we go, a "China" -> "Rider" opener to get juices flowing and folks riled up. The Dead quickly dispense with the verses and get going with the main jam. Bob and Brent conspire on the lick signaling "Rider" with about a minute left. Bob continues to lead the way, as Jerry mounts up and lo and behold, we're in "Rider." No "Feelin' Groovy" or "UJB Jam" to unite both tunes. Just good, old fashioned Dead magic. Oh, and "Rider" is lively and driven. We get another juicy combo in "Sailor" -> "Saint," establishing a change of pace and allowing Bobby to get two consecutive tunes in after the Jerry-centric opening. Jerry's turn again and here we take off with one of the fastest "Eyes" I've ever heard. Man, they are flying by! I can't believe the kinds of phrases and inventive lines he makes going this fast. The Rhythm Devils are responsive to his phrasing and accent their playing to show that. Just in case anybody ever doubted, the Grateful Dead had the best ears in the business. I can't even remember what verse they were just singing, I just want them to continue playing. The ensemble sections here are superb.

A continuous burst of energy, interrupted only be a stellar "Stella Blue," ends the show. "Iko" and "Sugar Mag" bring the house down. My highest recommendation, and one of the best for 1982.

Cassidy

1991-04-01 - Greensboro Coliseum

Venue: Greensboro Coliseum - Greensboro, NC
Tape History: SBD (AUD by John Bleich, download here)
Release History: None

Set 1
*Jack Straw, *Peggy-O, It's All Over Now, *Candyman, Just Like Tom Thumb's Blues, Picasso Moon, *Bird Song

Set 2
*China Cat Sunflower -> *I Know You Rider, Looks Like Rain, *Dark Star -> *Drums -> *Space -> *Dark Star -> *Playin' In The Band -> *Black Peter -> Lovelight, E: It's All Over Now, Baby Blue

Comments:
07-31-2011: Here we are with night two of this memorable spring '91 run. We begin with a truly great "Jack Straw." Jerry is nowhere to be found due to technical issues, so Bruce takes the first solo section. The issues continues as we hear the band supporting whom we think is Jerry, but no Jerry! Eventually, we hear him but turned way low in the mix. It's too bad these tech problems came up, because when they are finally resolved (4.24 mark), Jerry is absolutely tearing things up. If we could have heard what he was playing before! Alas. A sweet, gently "Peggy-O" follows, before the flow is thrown off by "It's All Over Now." It's a questionable choice for that particular spot. It feels like a capitulation sort of tune, something to close a set or be paired with a strong rocker ("Bertha," perhaps) in a rocker-oriented set. Hey, these kinds of things happen.

Jerry pulls out the second "Candyman" of '91 to put proceedings back in order. He delivers with an exquisite solo, as the band responds to the shifting moods he conjures from his guitar. For those who want to hear Phil sing, here's one for you: Dylan's "Just Like Tom Thumb's Blues." It stands alongside its first set tune-oriented peers. (All except the closing "Bird Song" [16 minutes] are fewer than eight minutes long.) I feel Jerry had a better handle on the overall atmosphere of the show thus far. Other than "Jack Straw," his choices of "Peggy-O," "Candyman," and especially "Bird Song" contained the most inspired playing of the set. Listen to Phil and Jerry in the middle solo section. They often begin and end each other's lines, simultaneously guiding the band in any direction they want to go. This is the miracle of the Dead, instead of the song falling apart, it soars. An absolute highlight of the tour and year. Possibly the best post-Bren "Bird Song."

The best way to begin a second set is with a bang. "China" -> "Rider" definitely qualifies as a band in my book. The Rhythm Devils's momentum picks up as they near "Rider," with Vince taking a secondary lead behind the Jerry/Phil/Bruce behemoth. (Vince here inexplicably switches to the "choir" synth pad on his keyboard. It is an intolerable sound. I'm happy he ditches it after a few minutes.) We get a nice "headlight" verse from Jerry and company and off they go into another great jam. Bruce is given space to lead the band. He's such a sensitive player, a great listener with stupendous feel for what is happening within the music. He also brought out the very best in Jerry while he was in the band (Sept. '90 - March '92.) (I think he would have been the best available permanent replacement for Brent, but he chose not to commit due to his other projects.) "Looks Like Rain" is a very odd choice here in the second set, especially after "China" -> "Rider." (Can we just point out that the questionable song choices are Bobby songs?) It halts the momentum the set was building and its status as a compact song befits it more to the first set. The echo effect on Bobby's voice is disorienting too. (Healy's decision?)

Finally, all the teases and hints form the night before are now a reality. The first "Dark Star" of the year is a shimmering beauty, full of the melancholy brightness Jerry has been summoning this run. This style holds up until about the midway point; thereafter, midi pads and synths take over. Very '90s. Bruce's chording around the 5.00 mark is pure jazz. The leading melodic notes are correct, but the surrounding notes have a different voice and color and make the chord unusual and also recognizable. Eventually - after "Drums," "Space," "and a "Dark Star" reprise - we end up at "Playin'," which concludes the previous night's unfinished excursion. Where the previous show ended unevenly with two Chuck Berry tunes followed by an excellent encore of "Knockin' On Heaven's Door," here we come out of the central sequence of the set to a luminous "Black Peter," a send-them-home-rocking "Lovelight," followed by a beautiful and subdued "Baby Blue" as encore. A much tighter and forceful way to end a show. These shows aren't close to being my favorite from 1991. They have two Dylan covers in the first set and encores; two very big jams in each second set; and some of the best of '91 candidates ("Eyes," "Bird Song".) There are exhilarating highlights in each show and are a great place to dive into this uneven but at points excellent year.

Bird Song

1991-03-31 - Greensboro Coliseum

Venue: Greensboro Coliseum - Greensboro, NC
Tape History: SBD (Unknown AUD, download here)
Release History: None ("Samson & Delilah" and "Eyes Of The World" were included as filler on Dick's Picks 17)

Set 1
Half-Step, Wang Dang Doodle, Friend Of The Devil, Queen Jane Approximately, West L.A. Fadeaway, Cassidy, Might As Well

Set 2
Samson & Delilah, Eyes Of The World -> Playin' In The Band -> Drums -> Space -> The Wheel, Around & Around -> Johnny B. Goode, E: Knockin' On Heaven's Door

Comments:
07-26-2011: For the longest time I was a pre-07-23-1990 snob. To Deadheads, the meaning is pretty clear: Anything after Brent died I wouldn't even bother with. It took some time and a lot of listening to move away from my prejudice and give it an honest shot. This first show in an exciting two-day run in Greensboro was my first exposure to post-Brent Dead. It took a while to warm up to the different sound and band dynamics, but there is a lot of good, and sometimes great, to be found here, especially the interactions between Bruce Hornsby on grand piano and Jerry.

There are a few vocal flubs by Jerry throughout the show, the first of which is in "Half-Step." Since nobody goes to a Grateful Dead show to hear vocals, it helps that the solo sections are good and so marks a solid way to begin the set. Grand piano has a different sound that seems to bring out energy and creativity from Jerry. For me, the best '90s recordings and shows are with Hornsby. The post-coda section has Vince Welnick on keys piling a thick synth to the band's sound. I don't think it fits very well. I am not a Welnick fan, but I am also not a hater. I think it best to approach his playing as occurring "outside" the rest of the group's; not exactly interacting with or borne of the rest of the band's dynamic. (I.e., the synth trombone in "Wang Dang Doodle," although it replicates the guitars' melodic line, simply does not fit. See also: synth organ solo in "FOTD.") Excluding the wicked groove in "Fadeaway" and a spirited "Cassidy," the rest of the first set doesn't have many great moments. It is about as average a first set you could find. "Might As Well" ends the set with strong energy and a playful vibe, giving us hope that the second frame would pick up and take flight.

Seeing that this was Easter Sunday, their opening with "Samson" is a excellent choice. Luckily, it seems like the audio levels have changed at this point in the show. Vince is less audible and Bob is turned a little down, while Jerry is turned up. You can hear the difference in "Samson," Jerry, full of joy and movement, takes turns through the verses without having to do aural battle with other instruments for space. It appears to have made an impact on Jerry since the next tune he chose was "Eyes," and what a beautiful one it is. The opening jam lasts for several minutes with Jerry going through the changes, as Bob comps on the right side, cleverly hinting at the chords and phrases. (Phil is brilliant in this tune and throughout the second set.) This is almost 23 minutes of heavenly playing by everybody in the band, a sure highlight of latter-day Dead, and in the argument for best post-Brent "Eyes" (06-17, to open the show, is wonderful too.) Listen to how Jerry and Bruce play off each other's ideas, crafting multiple lines in and out of their improvisations, never quite leaving the classic "Eyes" melody behind, but creating variations on melodic and harmonic elements. And this is all before Bruce or Vince even take a turn. You know Jerry's feeling it when he takes another turn himself instead of going into the next verse.

You can also tell when the whole band is feeling it when they move from a 23-minute "Eyes" to spiraling, yet unfinished 15-minute "Playin'." The "Dark Star" teases after the long main jam in "Playin'" must have had Deadheads freaking out. All a tease though, for no dark star would crash that night. They'd have to wait all of one day, for a lovely version the following night, April Fool's Day. They'd also have to wait until the next show for this "Playin'" to conclude.

Ending the set with two Chuck Berry rockers back-to-back is unexpected, especially given the way the previous song flowed and the natural shape the set was taking. I would have liked perhaps a "Wharf Rat" after "The Wheel" and then "Johnny B. Goode," for example. Fittingly, they chose to encore on Easter Sunday with "Knockin' On Heaven's Door," a shimmering take on the melancholy Bob Dylan tune. Overall, a good show, though not great. The first set is merely average and the great high points to begin the second set are met with questionable choices afterward. Still, a worthy component to your Dead collection, and as good a place as any to start with post-Brent shows.

Playin' In The Band

1979-08-12 - Red Rocks Amphitheater

Venue: Red Rocks Amphitheater - Morrison, CO
Tape History: AUD (by Bob Menke, download here)
Release History: None

Set 1
Promised Land, *They Love Each Other, Mama Tried -> Mexicali Blues, *Peggy-O, *Lazy Lightning -> *Supplication, Brown-Eyed Women, Looks Like Rain, Althea -> Passenger

Set 2
*China Cat Sunflower -> *I Know You Rider, Lost Sailor, Don't Ease Me In, *Estimated Prophet -> *Eyes Of The World -> Drums -> Space -> *NFA -> *Black Peter -> Around & Around, E: U.S. Blues

Comments:
05-29-2011: We're diving head-first into 1979, and we are not starting with their much-lauded winter shows in January or February. This year rarely gets the love its '78 and '77 siblings get. Nestled into the back of the decade, 1979 doesn't boast the career highlight performances that other years have. But listening closely and searching for gems often reveal high-quality shows. 1979 is no different. This particular show at Red Rocks, their second run after beginning in Oakland, signaled an abbreviated stop. Because the rains were coming down hard during the show, the following two shows were moved to the McNichols Sports Arena. Menke's AUD vividly captures what it felt to be there: the audience's excitement commensurate with the band's playing; the chatting and clapping; the howls of wonder at surprising or inspiring moments. It doesn't hurt that Menke's recording was a front of board (FOB) and was remastered by the Mouth Of The Beast (MOTB) crew. Any time the abbreviations FOB, MOTB, combined with a trusted taper's name (Menke, Bertrando, Wise, Moore, Walker/Scotton), you know are in for a beauty of a tape.

The most striking characteristic of the show is the astounding patience the musicians show. In "They Love Each Other," for instance, Jerry doesn't take the first solo and instead gives it to the ensemble. The crowd claps and hoots when he leads the way the second time around. The lines he crafts are precise and exact; not a whole lot of digging around to find the right notes. The groove remains deliberate and at a somewhat slower tempo than expected. All the more to savor the pace. For those who love hearing Jerry in ballads (who doesn't?!) this "Peggy-O" is just for you. Lyrical, sensitive, masterful, Jerry just doesn't let up, turning and turning phrases and shapes wrenching an unmistakable sense of sadness from the melody. It is a priceless performance. Bob kicks it into high gear when they tear into "Lazy Lightnin'." The band responds mightily with the fiery, shifting jam in "Supplication." Had I mentioned "Althea" yet? Third time played? And the exhilarating "Passenger" to end the set? Whoo! And this is only the first set. Straight fire through and through.

Take a special listen to the instrumental passage between "China Cat" and "Rider" to see how beautifully this AUD works. Phil is prominent in the mix, Bob is up there too, and you can hear Brent pushing the guitarists along. It's such a great mix and equalization; each instrument distinct and intertwined with the others. (I judge AUDs by how they evoke a sense of space at the venue and how the music fills it, and this tape does more than an admirable job.) I love the odd placement of "Don't Ease Me In," especially after "Lost Sailor" and before the centerpieces of the show, "Estimated" -> "Eyes." This pairing is one of the most beloved in Deaddom and this particular performance is singular. This "Estimated" was included in the So Many Roads box set. Props must be given to Brent, taking a rip through the changes before Jerome takes his turn. (Is that a slight tease of "Terrapin Station," to my ears, a few ticks before the 11:00 mark?) The whole ending jam just takes the tune to another plane, Jerry deftly riding the wave clear into "Eyes," and then blowing that one up to the upper reaches after the 7:00 mark. I'm not sure what else to write about the remainder of the set. Stick around for "NFA" and a classic cool-down tune in "Black Peter." Leave with a smile on your face to the sounds of "U.S. Blues." This show is extraordinary. Wave that flag!

Lazy Lightnin' ->
Supplication

1975-06-17 - Winterland

Venue: Winterland - San Francisco, CA
Tape History: AUD (by Rob Bertrando, download here)
Release History: None

Set 1
*Crazy Fingers, BIODTL, Deal, Big River, *Peggy-O, Me & My Uncle, *Help On The Way -> *Slipknot! -> *Franklin's Tower

Set 2
Blues For Allah -> Drums -> *King Solomon's Marbles -> Blues For Allah, Sugar Magnolia, E: *U.S. Blues

Comments:
03-09-2011: So here we are, friends. Making our way to one seriously misunderstood and often (regrettably) discarded year: 1975. From October '74 to June '76, the Grateful Dead were on official hiatus from touring. So how is it, you ask, that they played anything in 1975? Well, there were four shows that year, this one is the second, and all took place in San Francisco. Two of my all-time favorite shows (08-13 and 09-28) are from this year.

So why begin by reviewing this show? Little backstory first. We all know that the Dead's first (1991) official live vault release was the GAMH show from 1975-08-13. That show served as a celebration and release party for their album Blues For Allah. It would seem an odd choice for a first release, given the number of quality shows to choose from. After multiple listenings though, I find it to be a consummate gig; an apex representation of the band at a mid-decade peak, where they're still taking plunges and not going for an "exactly perfect" sound. To me, the GAMH show is a fleshed-out, more sophisticated version of what we have on tape here. This 06-17 show is the Dead for people who dig their jams dangerous and unpredictable; imperfect but doing exactly what they need to do. And we have master Rob Bertrando to thank for an exquisite AUD tape of the night. There are many sources available on LMA, but the very best is Mr. Bertrando's.

I love Bill Graham's intro. He introduces each member of the band and their respective instrument, and then repeats all their first names as if that were the name of the group. Very funny stuff. I find that most, if not all, of Rob's tapes have a perfect balance between band and crowd, giving you what must be an accurate representation of what it must have been like to be there. We get a serious debut in "Crazy Fingers" to begin the show. Jerry takes two choruses before they head back into the verses. His tone is pure crystalline, and the complex chord changes in this tune highlight Jerry's mastery of melody and phrasing. Take a run through the outro jam to see a band take their leader's cue on how to improvise the dynamics of a song. It's hard to believe that this is the first time they ever performed this song live. The next few tunes are expertly played, but not extraordinary. That's another place where this show doesn't quite compare with the other two stand-outs from this year.

"Peggy-O," on the other hand, is nothing short of brilliant. Before the song begins, two audience members (Rob included?) were talking about what song was coming up, when one said "I hope it's not 'Eyes Of The World.'" This is probably due to the taper having limited tape left and not wanting to lose part of the tune with a tape flip. This kind of banter is priceless for AUD-heads. Other than my absolute favorite 1977-09-03, this particular version of "Peggy-O" is supremely touching. The tempo is slower than usual, and that certainly adds to the pathos of the tune. The group, Bob and Phil specifically, create deep spaces between Jerry's words and his chords. The second solo Jerry takes midway through the tune is simply heartbreaking. How can a man feel so much? I can't say anything else about it.

The open with a debut, and they close the set with a couple more, "Help On The Way" and "Franklin's Tower." (For new readers, click here for a review of the show where "Slipknot!" debuted, 1974-06-20.) "Help" here is in a period of gestation, no lyrics, but groove and chord changes intact. Its confidence and flow is so cool and in control that we could easily prefer a version like this some nights. Seeing the band in the process of discovering itself is a magical experience. Their foray into "Slipknot!" is a pulsating excursion while "Franklin's" takes its time building to a stirring climax to end the set. What a way to inaugurate a fan-favorite trio of tunes!!

The meat of the second set - excluding the general weirdness that is "Blues For Allah" - is "King Solomon's Marbles/Stronger Than Dirt/Milkin' The Turkey." I gave up on the many names and now just call it "King Solomon's Marbles." This is a maniacal, bruising, hairpin tune. The Rhythm Devils and Phil are like a six-armed monster, eating up unsuspecting victims and their unprepared ears. This will get your heart pounding. "Sugar Magnolia" and "U.S. Blues" end the night in a rollicking, party atmosphere. You couldn't ask for two better suited tunes to close the night out. Though there are other '75 shows that I keep on regular rotation and honestly think are better, this is a great introduction to this often unappreciated year.

1978-02-05 - Uni Dome

Venue: Uni Dome - University of Northern Iowa - Cedar Falls, IA
Tape History: AUD (Unknown, download here)
Release History: Dick's Picks 18 (June 200)

Set 1 [missing from tape]
Bertha -> Good Lovin' -> Jack Straw -> Good Lovin', El Paso, TN Jed, Minglewood Blues, Friend Of The Devil, Passenger, Deal

Set 2
Samson & Delilah, Scarlet Begonias -> Fire On The Mountain, Ship Of Fools, Truckin' -> Drums -> The Other One -> Wharf Rat -> Around & Around, E: U.S. Blues

Comments:
02-18-2011: As promised, here is the companion piece to the previous post on 02-03. This is a second set-only tape. The audio quality is good, all instruments are fairly well equalized, though Phil is low in the mix. Adjust your equalizers to make up for this sad fact. This set appeared in its entirety in DP 18. There's some raging playing in this winter 1978 tour. I haven't posted my review 01-22 yet, but you can rest assured it's one of the Dead's very best shows between '78 and '80. As we saw with our previous review, the second sets are reserved for blazing jams. This show is no different.

"Samson" opens up the proceedings. Bob apparently forgot the words to the first verse, and Jerry just took off in spite of the song. He gets inside the verse chord structure and spins continuous melodic phrases off of the center. He never runs out of ideas and never repeats himself. It's truly inspirational playing. The story is that a mic broke and was being repaired while the song was going on. They say that Jerry used his guitar to signal the broken mic and then thank the technician, then Bobby yells "Wooo!" to see if it was working, and then the band goes back into the song. And they do, back into the chorus and re-doing the first verse. The minute the opening chords to "Scarlet" resounded, I had a feeling this would be special. And seeing how the set opener went, I felt pretty confident that the band was going to dive head-first into this sequence. And boy do they deliver! One of the very best "Scarlet" -> "Fire"s I have ever heard, easily in my top three. The tempo is brisk and energetic. Jerry takes two runs through before "the wind in the willows" lyric, and the rest of the band, Rhythm Devils notably, get on board the Jerry Train. At this point, the band begins to expand the post-verses section, disposing of the framework but keeping the chords. When the band is on, as they are here, it is wonderful to hear them spontaneously invent a new song. Towards the end of the jam, as they're nearing "Fire," Jerry creates a descending scale that he milks for all its worth, with Keith accompanying him on the Rhodes. What's beautiful about Jerry's way of soloing is that he is always aware of where the song is, so he can still solo as the song and its structure move forward, here irrevocably towards "Fire."

Keith and Phil, followed by the drummers, lead the transition into the second tune of this pairing. It's an invisible segue. It takes about five and a half minutes before Jerry begins singing. The groove here is thick and invigorating. His solos are inventive and dynamic, with his lines containing register contrasts based on modal scales. The chromatic fills and joining notes make his solos potentially never-ending. And with his skill and patience, it is no surprise the way his playing moved the audience. He is at his five star best here. Because the band isn't rushed (opposed to lazy) and they follow their ideas as a collective, they create exceptional moments are heretofore unheard sounds. The ending jam in "Fire" is one of those. When Jerry plays the ending melody across the song's two chords, the band begins to amp up the energy, and watch him go! Jerry again takes off and the band lets loose and follows his lead. Phil is dialed into every note from Jerry's guitar and, like a kite, Bob keeps the tune grounded as the rest of the group flies around him.

After the intensity and emphatic playing of the first part of the set, "Truckin'," a high-energy, rousing tune, feels like a cool-down. After "Drums," we pick up in focus where we left off with yet another superlative '78 "Other One." Here the band gives Jerry a roiling unsteady bottom to frame his solos and lines around. They are circles within circles, or the feeling of tumbling down a hill with your eyes closed. After the verses, there is a manic build to a solar flare of a Jerry peak, similar to the 1978-10-21 version (or vice versa?) A stellar "Wharf Rat" serves as a "everything is going to be okay" song, and then the set ends thunderously with "Around" and "U.S. Blues."

The Grateful Dead were on a roll in their winter '78 tour, with some of the most inspired playing of the year coming in the two nights (so far) reviewed here, 02-03 and 02-05. They are both essential components of any Dead collection. I'm withholding a Stealie for this particular show because it's only the second set; it feels like a great piece of an even greater whole, but the problem is we don't have the whole.

1978-02-03 - Dane County Coliseum

Venue: Dane County Coliseum - Madison, WI
Tape History: AUD (Unknown, download here)
Release History: Dick's Picks 18 (June 2000)








Set 1
Cold Rain & Snow, Mexicali Blues -> *Big River, *They Love Each Other, *Looks Like Rain, *Loser, Passenger, *Brown-Eyed Women, El Paso, *Peggy-O, *The Music Never Stopped

Set 2
Good Lovin', Ship Of Fools, *Estimated Prophet -> *Eyes Of The World -> *Playin' In The Band -> *The Wheel -> *Playin' In The Band, E: Johnny B. Goode [missing from tape]

Comments:
02-07-2011: If there is anything about the Grateful Dead's love for Wisconsin, we need not look any further than their blazing shows at the Dane County Coliseum. Sure, there are some fantastic shows at Alpine Valley, but for me Dane County is where they are basically guaranteed to certifiably rip. For evidence, see the earlier 1973-10-25 post. This show makes up the bulk of Dick's Picks 18, which also includes two tunes from 02-04, and a good chunk of 02-05, which will certainly be reviewed next. This AUD tape isn't the cleanest, but it isn't muddled either. You can hear some audience member's chatting in quiet moments. Thankfully, it is rarely distracting. The biggest drawbacks are that the vocal levels fluctuate in some tunes, that Keith is sometimes completely inaudible when comping, and a big time cut in "Ship Of Fools." If you hate seemingly incessant clapping, that will also be a drawback for you.

For this era, the setlist looks pretty standard. Early February in Wisconsin: "CR&S" opener. They really start gelling in "Big River," and once they hit "TLEO," you can say without any reservation that they are cooking. After Keith takes a run through, Jerry takes the tune for a ride. It is a perfectly crafted solo, each note a precise statement, and all put together a powerful declaration. I could hear this version of "TLEO" and never need another one. (1977-09-03's is way up there too.) One highlight after another soon follow: "Looks Like Rain," "Loser," a driving "BE Women," and a disarming "Peggy-O" round out the highlights of the first set before the "Music" explosion. What a way to end the set! What was an grade A first set was bumped to a surefire A+. Though it starts with subdued energy, it begins to boil once Jerry is given some space to stretch out. Check out his sizzling lines after the lyrics, "No one's noticed, but the band's all packed and gone/Was it ever here at all?" After the main verses are done, we're all aboard the Jerome Express. There is an extended break before they get back to the verse groove. Jerry's is whipping the band into a controlled frenzy, Phil's rising lines hint at the coming explosion, the Rhythm Devils are splashing their cymbals in anticipation as well, the crowd begins to cheer wildly, and when it hits, it's BAM! 200MPH, check yo' head because they're out to slice the building in half. "dcain," one of my favorite reviewers on the archive, calls this version "the power and the glory." Amen.

"Good Lovin'" is one of those tunes that I just can't seem to get into. It was different when Pigpen was alive because his raw R&B singing and they way the band stretched out suited the type of version they were out to create. Without him, it's just lacking in interest. We get our first major audio issue in "Ship Of Fools." There is a cut in about what feels like midway through with no patch to speak of. It cuts and that's it. It's a sure "breaking of the fourth wall," if you will. We are thrust away from our immersion in the show and reminds us that this is a tape; these are headphones; you are just listening to an artifact. That's a huge minus. However, it's more than made up for afterward.

The set-closing sequence beginning with "Estimated" is outstanding. They take off in each tune, chasing their mojos and letting the music take over. The instrumental passages between verses in "Estimated" are mini-snapshots of a band on a mission. Yes, Jerry's got the reins, but the band is all ears and willing to go to wherever he might lead. This includes a high-intensity "Eyes" and a sparkling take on the "Playin"-"Wheel" sandwich. The segue into "Eyes" is so easy and natural it feels like a logical ending point for the song. Jerry takes off in flights through the chords as the band bounces behind him. When they take their time with the intro, as in this version, it is truly blissful. Part me of wishes they'd never go into the lyrics. The crowd's cheer as the first verse begins sure sounds like appreciation to me. You can tell the band is on because Jerry takes multiple verse-lengths in his solos. (Another sign might be the absence of a "Drums" segment.) There is a nice Phil-led jam in "Playin'," where he displays his brilliant gift for playing both lead and rhythm parts simultaneously. Phil takes a few steps back as Jerry comes in, letting him now take the main lead. The band rolls in and around his phrases, joining him when he hits peaks and settling down when he drops away for Keith to take over. When the band is this tight, it is a true gift. I love how the hints of the "Playin'" reprise melody start appearing about five minutes towards the end. They tease it, dance around it, play the same notes while evading the full-on melody. The transitions into "The Wheel" and back into "Playin'" are slick and the ending jam in the final "Playin'" feels like a celebration of what preceded it.

For the first time in two months, I am placing a sure Stealie on a show. This one more than deserves it. It's one of the very best shows of 1978, a much underrated year, and a necessary addition to any Grateful Dead collection.

The Music Never Stopped

1982-10-17 - Santa Fe Downs

Venue: Santa Fe Downs - Santa Fe, NM
Tape History: AUD (Unknown, download here)
Release History: None

Set 1
*Half-Step -> *Franklin's Tower -> *New Minglewood Blues, Candyman, *Me & My Uncle -> Mexicali Blues, *Althea, Man Smart-Woman Smarter, Ramble On Rose, *Let It Grow -> *Deal

Set 2
*Shakedown Street -> *Samson And Delilah, Good Time Blues, *Estimated Prophet -> *He's Gone -> *Drums -> *Space -> *Throwin' Stones -> *GDTRFB -> *The Wheel -> *The Other One -> *Wharf Rat -> *Good Lovin', E: Don't Ease Me In

Comments:
01-12-2011: From the dawn of 1980 to the end of 1983, the Dead were on a serious roll. Each year had its own first-rate shows and and top-notch tours, but each of these four years were uniformly strong. 1982 is probably the most underrated of these years, and this particular show is the big time gem from the fall of 1982. The most obvious choices for '82 are 07-31 Austin, 08-10 Iowa, and the pair of shows at the Frost Amphitheater about a week before this one. Here at GD Notebook I give equal love to the gems and the stand-outs. Little by little, I'll be filling out the GD years with both types of gigs.

The first set is expertly crafted. "Half-Step" -> "Franklin's" openers are always a good omen, and here they do not disappoint. Jerry overcomes a few vocal flubs in "Half-Step" with sweet leads through the changes. "Franklin's" doesn't hit a peak until near the end of the tune, where Jerry brings it all home while playing off the Rhythm Devils. Following with "Minglewood" makes three it burners to begin the first set. Can't beat it! I love Bobby's comment after Candyman, "We're going to do some local color tunes" to introduce the C&W songs. Jerry takes three turns through "Uncle," using the chord progression to create melodic phrases that shift seamlessly through registers. I am going to go out on a limb and say that the early '80s was the best period for "Althea." This is another tremendous version (forgotten verse by Jerry and cut ending notwithstanding.) Phil, Bob, and Brent are locked into the main verse groove, it really bumps and struts. I always imagined that the Althea in the song had a sultry walk because of this groove. I get the feeling that whenever Jerry forgets a lyric he amps up his playing for the rest of the tune, which carries over to the rest of the set and perhaps show. The band ends the set with authority with "Let It Grow" -> "Deal," a warning to all comers that the second set was going to rip fire.

Opening with "Shakedown" -> "Samson" ought to do it. (As one audience member says after the opener's conclusion, "Wow! Samson!") I consistently come back to this second set. It's one of the best, most resolute sets of the '80s. I can't say enough about it. The only pause they take is with "Good Time Blues." After that, they apparently said to hell with regaining their collective breath. Everything else is superb Dead, rigorous jamming, focused movements through segues, and a completely unyielding post-"Drums" segment. We'd be lucky to get a "Throwin' Stones" and "GDTRFB" and then maybe a "Black Peter" and, for this era, an almost guaranteed "Sugar Magnolia." But instead, they bring a segment from about a month earlier (09-09 New Orleans), and close out with "The Wheel" -> "The Other One" -> "Wharf Rat" -> "Good Lovin'." Incidentally, 09-09 and this gig are the only two times in the Dead's history these four songs were played in the same show, and here we have them in the same sequence, both to end the second sets of their respective shows. I'm telling you, you just can't make things like this up. This is a necessary show in all Deadheads' '80s collections.

Me & My Uncle

Throwin' Stones

(Poster design by: D. Larkins and D. Sawyer)

1978-10-17 - Winterland

Venue: Winterland - San Francisco, CA
Tape History: SBD (AUD by Reinhart Holwein, download here)
Release History: Two songs in Road Trips Vol. 1, #4 bonus disc (Sept. 2008)

Set 1
Promised Land, *Friend Of The Devil, Mama Tried -> Mexicali Blues, *TN Jed, I Need A Miracle, Stagger Lee, *Jack Straw

Set 2
*Scarlet Begonias -> *Fire On The Mountain, *Estimated Prophet -> *Eyes Of The World -> *Drums -> *Space -> *If I Had The World To Give, Around & Around, E: U.S. Blues

Comments:
01-05-2011: First night of a smokin' five night run at the Winterland, and the Dead's first show back from Egypt. These shows were billed as the "From Egypt With Love" shows. Word on the street is that there were pictures from the trip projected onto a screen behind the band as they played these shows. The only reason I'm posting this review before others from the stand is only because it's the first show. Otherwise I would have gone for the much superior 10-21 or 10-22 gigs. But take a look at that second set! Wow.

Before I completely get ahead of myself, let's take a short stop in the first set, even though it's not something exactly to write home about. Keith takes a turn in "FOTD" without sounding spent and bored, which is saying a lot for his musicianship in this era. Jerry's solo is phenomenal. His mastery of melodic phrasing is ever evident, and his signature tone is displayed in absolute glory. I love this cut. Things look unevenly formed for most of this set though, even when the band destroys "Jack Straw" as a set closer (?!). The second set, in contrast, is burning for its entirety. The segue between "Scarlet" and "Fire" is naturally arrived-at with Jerry leading the way and Phil following close behind with his high-register theme. Keith feels the transition close at hand and slowly moves in that direction. It's silky smooth. The transition into "Eyes" is more deliberate, but it still works. Phil's playing in this whole sequence is simply incredible. He plays with the melody and firmly within the rhythmic framework. He's a singular talent. Out of the three times they played "World To Give," this particular version stands head and shoulders above the others. Bob weaves in touching slide chords and lines below Jerry's heartfelt solo, where he stretches the emotive content of the melody. Recommended, but still not a top notch show.

1989-07-07 - JFK Stadium

Venue: JFK Stadium - Philly, PA
Tape History: AUD (Unknown, download here)
Release History: Crimson White & Indigo (April 2010)

Set 1
Hell In A Bucket, *Iko Iko, Little Red Rooster, Ramble On Rose, Memphis Blues, *Loser, *Let It Grow -> *Blow Away

Set 2
Box Of Rain, *Scarlet Begonias -> *Fire On The Mountain, Estimated Prophet, Standing On The Moon -> Drums -> Jam -> *The Other One -> *Wharf Rat -> Lovelight, E: Knockin' On Heaven's Door

Comments:
12-29-2010: The excellent mix in this recording led it to be mislabeled as a Healy matrix, when it is actually an unknown taper's AUD. The band is up front, especially Brent, with a pulsating, in-your-face sound. 1989-1990 is up there as far as my favorite Dead eras go. John Kadlecik, the man on axe in Phil and Bobby's band Furthur, said that Bob told him that his favorite Dead period was '89-'90. I'm not sure what that says, but at the very least, it begs for more listening. For me, '89 doesn't really get started until the summer. It's true, there are some good shows in the spring (04-16 comes to mind), but there also a lot of lulls in the tours. Once they hit the big stadiums on the East coast, things started getting real.

I'm partial to the previous show this tour, Fourth of July show at Buffalo (documented in the "Truckin' Up To Buffalo" CD and DVD), more than this particular gig. The individual parts here, however, have an old-school yet forward-looking flavor, which led me to review it for the site first. Talking about first, "Bucket" and "Iko Iko" are raging. Jerry dives into the deep end in "Iko Iko," relishing the rhythmic cadence of the verses, and concentrating on Brent's Mardi Gras festival organ. Moving on to Bob's tunes, I feel exhausted. And not in the best way. I know I may not accrue much favor by saying this, but some of tunes Bob sings are intolerable. "Little Red Rooster" and "Wang Dang Doodle" among them. It may have something to do with the screeching slide playing. The ending couple of "Let It Grow" -> "Blow Away" rides a furious wave, Jerry pushing the band ahead with his quicksilver leads and solos. I love hearing Brent's harmonies in the background in "Grow." He takes an impassioned lead in "Blow Away," my favorite version of this Built To Last track. (This take was included in the 2004 reissue of the album.) A memorable end to an otherwise up-and-down first set.

Smoking "Scarlet" -> "Fire" after a lovely "Box Of Rain" doesn't make up for the odd setlist construction. Still, Jerry is burning the joint up in this sequence. "Estimated" has some meaty leads by Jerry with a very prominent Brent in the shotgun seat. It loses steam towards the end and doesn't live up to its promising potential. They segue into "SOTM," which just perpetuates the up-and-down nature of this show and somewhat stagnated energy just waiting to blow up without self-restraint. Thankfully, the old-school closing trifecta more than satisfies. The signature Phil "Other One" lick doesn't come in until the three minute mark of the tune, a good amount of frenetic jamming preceding. "Wharf Rat" and "Lovelight" end the show with a strong punch.

I don't think this one deserves a Lightning Skull, given how this early July stadium tour went. You could say that this show and 07-04 are the no-doubt highlights of the stadium run, but they don't come close to matching the Alpine Valley 'Downhill From Here' gigs a few weeks later or the Hampton 'Warlocks' shows or Miami night two or Bob's birthday gig. Those are locked-down Lightning Skulls for sure.

1980-11-29 - U. of Florida

Venue: Alligator Alley Gym - Gainesville, FL
Tape History: AUD by Jim Wise [Charlie Miller transfer] (download here)
Release History: None









Set 1
*Alabama Getaway, Promised Land, *Candyman, New Minglewood Blues, Row Jimmy, Mama Tried -> Mexicali Blues, *Althea -> Lost Sailor -> *Saint of Circumstance -> Don't Ease Me In

Set 2
*Shakedown Street -> *Franklin's Tower -> *Estimated Prophet -> *He's Gone -> *Truckin' -> *Drums -> *Space -> *The Other One -> *Stella Blue -> Good Lovin', E: Casey Jones

Comments:
12-04-2010: There a number of tapers that are known as the best of the best. Rob Bertrando, from the previous 1971-08-06 post, is one. Jerry Moore and Jim Wise complete the trifecta, for me. There are others, such as Bob Menke, Rango Keshavan, and Joani Moore/Paul Scotton, whose tapes we will be reviewing too. This particular Wise tape was transferred by Charlie Miller. If that name doesn't mean anything to you, just know that he began taping in 1983 and is entrusted with choice AUD and SBD tapes from great sources (including the ones mentioned here), and he gives the tapes a new transfer using modern equipment. Any time you see his name on a tape, trade for it immediately. Many times I've gotten rid of old tapes that have new Miller transfers. The sound on the recordings he works on is clean, you can feel the space of the venue, and in the most inspired tapes, you can hear the notes reverberate and reach the mics. In SBDs, the music goes straight to your headphones. Here, the music is in the venue, among the crowd, filling the space. The best AUDs are able to convey this.

Which brings us to this wonderful audience recording by Jim Wise. Miller's notes say that Wise's mics were set up at the soundboard. It's a good distance away from the stage, and it captures the numerous nuances coming from the musicians. I love hearing how wide-open space sounds in this recording. We have the music, of course, it's a fairly immediate sound, but the individual components of it unfold and develop in front of our ears, if you will, as if we'd be standing next to the soundboard that Saturday night. At the same time, you can hear the crowd's cheers beneath the music, some clapping, and, most importantly, you can feel the energy of the crowd when jams really get going. It's an amazing tape, one of the most fun, and multi-faceted AUDs I've heard.

This is also the first Brent Mydland-era tape I post up on the site. I always felt like bringing in Mydland was an attempt to regain what they lost when Pigpen died. During the Godchaux years, we only had the Fender Rhodes sound and no vocals from that seat. With Brent, the organ is back in play, as are synths and other keys, and his rough voice blends in sweetly with the rest of the band's voices. Here he doesn't contribute as much as he would in later years, since he had only been with the band for a little bit more than a year. The first set is a table-setter for the explosion that the second set provides. "Alabama Getaway" is a nice dig at the U. of FL's rival. Jerry takes tremulous leads in "Candyman," and slows the tempo considerably for a bottom-shaking "Althea." It's a memorable take on this great song, and Jerry's first run through the solo section, although short, is melodically impeccable. Good thing there's an ending solo! The "Sailor" -> "Saint" is well played, and the "Saint" has a good peak, but overall they are average versions.

Second set "Shakedown" opener. Oh yes. You have a pretty good shot of getting a stellar set when this happens. We get the expected crowd-clapping. Not annoying, but somewhat grating. Phil is way up front with his bass fills, as are Brent's keys. The slight disco beat we get from Bill and Mickey keep the band playful and energized. I thought I heard a "Feel Like A Stranger" quote from Jerry. A nice transition into "Franklin's" leads to a spirited climb, with Jerry milking every note from his axe. I love hearing the crowd clap a 4/4 beat during the "Estimated" intro (the whole song is in 7/4), and then give up as soon as Bob starts singing. What a raging version! What year is this, '77? Phil and Jerry whip the band into a frenzy let groove just ride without getting in its way. I love hearing the band playing in this way, three, four minutes of this kind of jamming is much better than obtrusive, self-conscious playing. "He's Gone" -> "Truckin'," a great pairing that began in 1972, serves as a deep breath and a big dive back into the fray. "The Other One" -> "Stella Blue" is one of my favorite Dead combos. Here Phil rips a hole in the gym roof with his intro and Jerry fills the void with lightning. "Stella" always feels like heartbreak, and Jerry and Phil (see the pattern yet?) bring it home with their special playing. Other than "Good Lovin'," this set is remarkably well constructed, great song placement and inspired jamming throughout. A singular gig and a top show for the year.

Althea

Estimated Prophet

1971-08-06 - Hollywood Palladium

Venue: Hollywood Palladium - Los Angeles, CA
Tape History: AUD by Rob Bertrando (download here)
Release History: Dick's Picks 35, SBD of The Other One to end (June 2005)









Set 1
*Bertha, Playin' In The Band, *Loser, Mr. Charlie, Cumberland Blues, Brokedown Palace, Me & Bobby McGee, *Hard To Handle, Casey Jones

Set 2
*St. Stephen, *Truckin' -> *Drums -> *The Other One -> *Me & My Uncle -> *The Other One, Deal, Sugar Magnolia, *Morning Dew, Lovelight

Comments:
12-01-2010: The last two shows I reviewed can be considered gems. This tape - my first AUD - is most certainly not. It is one of the top shows of the year, and to document it we have one of the greatest AUD tapes in Dead lore. Rob Bertrando is one of the best known Dead tapers, and his tapes are always must-hear affairs. This particular audience recording is known as the best AUD. The sound is rich and full, the audience noise does not overpower the band. Actually, the level of interaction between the band and the crowd, they way they feed off each other's energy, is immediately palpable. I think that quality is what makes great AUDs superior to great SBDs. And this AUD is beyond great; it is a necessary component to any Deadhead's collection.

The "Bertha" opener is easily one of the best openers I have ever heard. It's not uncommon for this song to rip from the get-go, and this version does not disappoint. The crowd erupts with the first notes, and you can hear their joy when Jerry takes the solo. And what a solo it is! His tone is so sharp, it's amazing that he can play with such a strong melodic sense. (3.40 - 4.10.) A textbook Jerry solo, using the melody to create phrases that dip, rise, and dive again, and usually hit peaks that cause the crowd to freak out. Really special. The "Playin'" that follows finds the band in the midst of figuring out what the song will become. They play it straight through with no jamming. Matter of fact, most the jamming in this show takes place during Jerry's solos. (There are a few exceptions to this ["St. Stephen," "The Other One"], but this is generally the case here. As proof, there are only two songs above 10 minutes, "Morning Dew" and "Lovelight.") The rest of the set is played as expected, albeit with supreme focus, energy, and the conviction not to waste a single note. Forceful, compact statements are the hallmark of this show. That and barely controlled intensity. "Hard To Handle" supplies that part. Other than 4-29-71, it is the best the Dead ever played. Phil's big bottom end goes up to a higher register to meet Jerry's solo. There's so much passion and movement in this version. Their transition back to the verse section is perfect.

I can't say enough about the second set. "St. Stephen" bristles as "Truckin'" hypes the crowd into a frenzy as Jerry teases the rhythm to "The Other One." A short drum interlude serves as a mild breather only to be shocked with a ripping "The Other One." The jam into "Uncle" is hard, serious Dead. I wish they could have kept that going longer. Very cool thing happens here. In the jam out of "Uncle," there is a "WRS" tease years before it would become a song. The "Dew" is beautiful and Pigpen brings it all home in "Lovelight." One of the best shows from '70-'71. Some would say one of the Dead's greatest.

Bertha

Hard To Handle