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.

1969-04-05 - Avalon Ballroom

Venue: Avalon Ballroom - San Francisco, CA
Tape History: SBD
Release History: None

Set 1

Dupree's Diamond Blues -> Mountains Of The Moon -> *Dark Star -> *St. Stephen ->  Lovelight

Set 2

Hard To Handle -> Cosmic Charlie, China Cat Sunflower -> Doin' That Rag, *Cryptical Envelopment -> *Drums -> *The Other One -> *Cryptical Envelopment -> *The Eleven -> *It's A Sin -> *Alligator -> *Feedback -> *And We Bid You Goodnight








Comments:
07-22-2012: Good quality tape, some hiss, but it’s really minor. It sounds prevalent in the first two cuts of set one since they are acoustic. The transition into electric “Dark Star” is very smooth, Phil becomes louder too. This particular “Dark Star” is angular, shapeshifting, aggressive. Close to the 11 minute mark, Jerry plays a four or five note pattern that appears in many ’69 “Dark Stars.” About three minutes from the end the band begins to intensify their playing as Jerry finds a pattern that works and rides it for all its got. They go into the second verse and “St. Stephen” bursts out of the gate. I can never get tired of this kind of playing. A brief “William Tell” bridge takes us to a serious “Lovelight.” Good to know that they go back to a full “Eleven” later in set two. Big surprise to hear my man Jerome on the slide in “Hard To Handle.” The tempo is staggered, it gives the song an odd, undeveloped feel. There are also some flubs here. Not the smoothest, and neither is “Cosmic Charlie.” The second set doesn’t remain at a consistently strong level until “Cryptical.” Luckily, it remains strong through the end. This sequence may constitute one of the hardest-hitting jam segments the band played this magical year. Yes, this show has peaks and valleys. The thing is that the peaks (“Dark Star,” “The Other One,” “The Eleven,” “Alligator”) elevate the show to true greatness, rendering the valleys mere obstacles. A necessary show. 

1974-02-23 - Winterland

Venue: Winterland - San Francisco, CA
Tape History: SBD
Release History: None

Set 1

Around & Around, Dire Wolf, Me & Bobby McGee, Sugaree, Mexicali Blues, Here Comes Sunshine, BIODTL, Ship Of Fools, Jack Straw, Deal, Promised Land -> Bertha -> GSET

Set 2

Row Jimmy, WRS Prelude -> WRS Part One -> Let It Grow -> Stella Blue, Big River, Ramble On Rose, Me & My Uncle, He's Gone -> Truckin' -> Drums -> The Other One -> Eyes Of The World -> One More Saturday Night, E: Casey Jones, E: Johnny B. Goode, E: And We Bid You Goodnight



Comments:
04-11-2012: Middle show of a three night run at Winterland. First set is not the strongest, though “Here Comes Sunshine” (see video above) is a very strong tune, expert jamming and uninhibited playing by all. Keith especially shines on this track. The second set is where the money’s at, for sure. “Let It Grow” is a raging version. One of the best for the year. “He’s Gone” -> “Truckin’” -> “Drums” -> “The Other One” -> “Eyes” is a brilliant sequence, full of intense jamming and exceptional work by the whole band. I usually don’t compliment Weir’s playing, but his rhythmic backdrops in this sequence are what give Jerry the space and framework to take off on his breathtaking runs. I have heard this show a number of times, and feel it could grow on me with repeated listenings. Not sure if it can match the next night, one of my first tapes. I’m withholding the Lightning Skull because those kinds of shows must A) have an immediate effect, and B) a lasting effect. Nevertheless, this show is excellent, and a great table-setter for the next evening. Last “HCS” until 12-06-1992. 

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.

1972-05-03 - Olympia Theater

Venue: Olympia Theater - Paris, France
Tape History: SBD
Release History: Europe '72 Complete Recordings [Sugaree and GSET will be included in Europe '72 Vol. 2]

Set 1
*Bertha, Me & My Uncle, *Mr. Charlie, Sugaree, Black-Throated Wind, Chinatown Shuffle, *China Cat Sunflower -> *I Know You Rider, BIODTL, *He's Gone, Next Time You See Me, *Playin' In The Band, *TN Jed, Good Lovin', Sing Me Back Home, Casey Jones

Set 2
*GSET, Ramble On Rose, It Hurts Me Too, *Truckin' -> *The Other One -> *Drums -> *The Other One -> *Me and Bobby McGee -> *The Other One -> *Wharf Rat, *Jack Straw, Sugar Magnolia, *NFA -> *GDTRFB -> *NFA, E: One More Saturday Night

Comments:
09-04-2011: There are multiple reasons I'm reviewing this massive Europe '72 landmark now. First, I thought it would be a cool idea to celebrate the release of the mammoth tour boxset and the upcoming (Sept. 20th) Volume 2 release. Second, this is my twentieth post (!) and my first for the very special year, 1972. So what better way to celebrate these moments than featuring one of the most underrated shows of the tour.

There are undisputed Europe '72 masterpieces (for me, they are 04-14, 05-11, and 05-26) and then there is the rest, ranging from great to greater. All a matter of taste, really. And hey, why stress about it when there are 22 brilliant gigs to go through? For me, 05-03 is pretty damn close to masterpiece level. The amount of crisp, innovative, on-point playing is just staggering. Five fingers to the fist. In standalone tunes, the jamming is compact and short and the group's playing is supreme. And when the whole band is roaring along at full horsepower capacity ("Truckin'" -> "The Other One"), you should check your face to see if it's still there.

One of my favorite aspects of these '72 shows is the amount of attention they paid to both sets, choosing freely from Bobby, Jerry, and Pigpen tunes. Their focused playing on the standalone tunes are often the most spirited performances of those songs, thought of as the "ideal" cut all others are measured against. Take a look at this "Bertha," with Jerry squeezing squeals out of his axe or the break in the middle of "Mr. Charlie." It's heartbreaking to know that Pigpen was in ill health in this tour. His last show with the band would be their very first stateside gig (06-17) after the conclusion of the European tour. When I think of his best performances, and the many here and throughout this tour, Pigpen performs acts of sorcery. His voice, raps, and attitude would conjure sounds and risks the band wouldn't ordinarily take without him.

The first set, all hour and 45 minutes of it, is a set of continuous highlights. I had to pick the best among the great to recommend in this review. Telling you to check out the five-star tunes that were already included in the original Europe '72 compilation ("China" -> "Rider" and "TN Jed"; "Jack Straw" from set 2) feels ridiculous. We all know how wonderful these cuts are. How about the fifth-ever performance of "He's Gone"? They take a languid approach to the tune, Phil playing counterpoint to Jerry's picking and Bob's chords. Keith and Pig on the keys are creating lines out of Jerry's main melodic phrase. Check out the band's ensemble playing during Jerry's solo. They seem to live in each other's heads, knowing how their playing will fit in with teh others and how what they play next will work with what the rest of the group is doing. Brilliant. For those who want their jams a bit longer, we get prime versions of "Playin'" (love Jerry's wah-wah pedal!) and "Good Lovin'". To end the set a "Sing Me Back Home" for the ages and a "Casey Jones" closer. Are you kidding me?

I don't think they could have picked a better opener for set two. David Lemieux must have thought the same, since "GSET" was chosen to be in the upcoming Volume 2. Jerry's wah-wah flight before the final chorus is swift, while Keith on keys brings a honky-tonk flavor to his chording as Phil urges the band ever forward. The meat of the set goes from "Truckin'" through the three segues into and out of "The Other One" and settling into "Wharf Rat." It's an incredible, ever-shifting section of music. Going form big ensemble jams to standalone tunes back into big jams, cleanly, precisely, as if rehearsed that way. Throw in a textbook "Jack Straw" and a vibrant "NFA" -> "GDTRFB" -> "NFA" sandwich, and you have one of the best shows of the tour. Yep, this listen has firmly placed it among the masterpiece shows of the tour. Essential listening for all Deadheads.

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

1970-05-06 - Kresge Plaza

Venue: Kresge Plaza, M.I.T. - Cambridge, MA
Tape History: SBD
Release History: None

Set 1
*Dancin' In The Streets, China Cat Sunflower -> I Know You Rider, Next Time You See Me, *Morning Dew, *Good Lovin' -> *Drums -> *Good Lovin', Casey Jones, *St. Stephen -> *NFA

Comments:
02-02-2011: Sometimes the muse hits before it's "supposed to." The Grateful Dead, scheduled to perform on May 7, 1970 at M.I.T.'s Dupont Gym, went ahead with a free concert the day before on the steps of the student center, as part of a rally protesting the deaths of student demonstrators at Kent State on May 4, and played one of their strongest sets of the year. Yes, an impromptu performance still overshadows the official concert.

This is a crunchy sounding tape. I'm not sure how else to describe it. It isn't tape hiss, but an external kind of crunch out there. It may have something to do with the rain that was reportedly falling that day. It's not terribly bad, either; solid B. Word is that the band was freezing, but insisted on playing for the students even though the scheduled gig was the next night. Gotta love it!

The first few seconds of "Dancin'" are missing. Thankfully, that hardly marks a dent in this fantastic version. From the get go, Jerry and company take off and don't settle for anything. This particular version of "Dancin'" ranks with the Harpur College cut four days before (Dick's Picks 8), still one of the very best shows for Deadheads the world over. They push and stretch their playing throughout, with occasional "Dark Star" licks from Jerry and ferocious energy from the whole crew. Near the end of the opening tune, it sounds like an embryonic form of "Eyes" takes shape. A leisurely "Rider" emerges after a very brief "China Cat." In what will become a fan favorite and highlight of too many shows to name, the pairing of these two tunes here is unremarkable. A first rate "Morning Dew" occupies the center of this gig, and you can feel how the "Where have all the people gone?" lyric hung above the audience, with no resolution in sight. "Good Lovin'" - a regular buzzkill tune for me - may well be the peak performance of the show, false start and hilarious bad mic banter notwithstanding. It's analogous to the the "Dancin'" opener, stretching out, reaching, the band certifiably cooking under Jerry's flights. All the while Phil and Jerry are astoundingly in sync. There is an interesting and tense segment in "St. Stephen" when the band seems intent on going into "NFA" after "one man gathers what another man spills." Jerry brings them back with the classic "Stephen" lick and the band then flies into the last two verses. It's a great little sequence, the band making it up as they go along.

Love some of the banter here. At the end of "NFA," Bobby says, "Hey, we're going to split, and we'll be playing for you tomorrow night, but it's just too fucking cold. You know how it is."

Anybody missing a little kid named Frank?

Dancin' In The Streets

(Unknown photo credit.)

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.

1974-06-20 - The Omni

Venue: The Omni - Atlanta, GA
Tape History: SBD
Release History: None

Set 1
U.S. Blues, BIODTL, Brown-Eyed Women, Mexicali Blues, It Must Have Been The Roses, Jack Straw, Scarlet Begonias, Me & My Uncle, *To Lay Me Down, El Paso, *China Cat Sunflower -> *I Know You Rider, Around & Around

Set 2
Big River, *Ship Of Fools, *Truckin' -> *Eyes Of The World -> *Slipknot! -> *China Doll, One More Saturday Night

Comments:
12-15-2010: [First things first: "Slipknot!" debuted at this show. More on that below.] So here we are. In my favorite year and month in GD history. June - August '74 may very well be my favorite era overall, but June takes the cake. I know I've already reviewed 02-24, but like I said before, that show feels like a continuation of fall '73. There are so many exceptional performances throughout the abbreviated '74 tour schedules (only 40 shows that year, compare that to 72 shows in 1973 and 85 in '72) leading to their hiatus in '75. So why review this show first from the golden period of this year?

I don't think it's an archetypal performance for this period. In fact, the first set is mostly underwhelming, excluding the gorgeous reading of "To Lay Me Down," a heartbreaking Jerry ballad. When they work up some steam in "China" -> "Rider" it is already nearing the end of set. And whoever relied on "Around & Around" for momentum? The second set, on the other hand, contains what '74 is all about in a nutshell, which is why I think this is a great intro to this special year: concise, impacting standalone tunes; head-first dives into adventurous open-ended jamming; sharp hairpin turns in tempi and jamming styles within songs; and supreme focus while jamming and segueing to and from songs.

It is unclear whether "Big River" is actually the second set opener. Since we don't have good evidence to suggest something else, we're leaving it in that slot. It doesn't contribute much, to be honest. Following with "Ship Of Fools" looks odd, but they pull it off with sensitive, patient playing, especially by Keith. (Miami three days later has a flawless jam leading into the second set opening "Ship." That show is priceless and will certainly be reviewed in the future.) Actually, all the ballads played in this show display the Dead's ability to nail this type of playing. From this point forth, all bets are off. "Truckin'" ceremoniously rips, with Jerry towards the end of the structure-based jam unleashing a variety of lead ideas and phrases that push the band forward. The intro licks pop up as Phil climbs the register and Keith meets him there, before they crash back into the verse section. All this movement happens naturally and confidently. One thing that I cherish about this period is that they're just plugging in and playing. No frills, no pedals (save for a wah-wah for Jerry), no effects, it's streamlined Dead. A clean sound pervades this era and allows the listeners to hone in on the specific instruments that make up the glorious whole. Score one for the Wall Of Sound sound system. Too bad it was so expensive and impractical in the long run that it had to be let go.

Before long, all semblances to "Truckin'" disappear and we are in the middle of a boogie/shuffle jam, before the band drops out and Jerry improvises solo. A few moments later, he steps on the wah and we're off to space. After the initial jarring sequence of instruments piling on top of each other, Keith strikes a little lick that Bob picks up, and a short, aggressive jam takes place. Slowly the instruments dissipate, before Jerry brings them all home with the opening chords to an astronomical "Eyes." A lot of scary moments, with soaring flights up and down the fretboard by Jerry. Long solo too by Phil, given ample space to move around. The pre-hiatus minor chord jam in "Eyes" is a sure clue as to how "Slipknot!" developed. How they end up in a chilling "China Doll" after the breakneck pace before is unbelievable.

Let me sum up what you must listen to: "To Lay Me Down," "China" -> "Rider"; all of set 2.

To Lay Me Down

Slipknot!

1970-09-19 - Fillmore East

Venue: Fillmore East - New York City, NY
Tape History: SBD
Release History: None









Set 1
Morning Dew [missing from tape], Me & My Uncle [missing from tape], G.M. Little Schoolgirl [missing from tape], Cold Rain & Snow [missing from tape], Easy Wind [missing from tape], Sugar Magnolia [missing from tape], *Dark Star -> *St. Stephen -> *NFA -> *Darkness Jam -> *China Cat Jam -> *NFA -> *Lovelight

Comments:
12-07-2010: There is a ton of intrigue involved with this show. Apparently, there are mislabeled tapes circulating under the previous day's date with music from this show. According to deadlists, there were three sets played on 09-19, and the one above is part of the second set and all of the third. I am not sure what is what so I'll only address what I have. I treasure this incomplete tape (search nugs stash...) more than some great full-length shows I keep in rotation. The main reason is this perfect "Dark Star." I'll take a risk and say it's a top three version for me. Maybe 09-21-72 and 11-11-73 are the other two. But this one is right up there, and some days, is the only one there. A+, five stars.

It begins slowly, sullenly, and then starts climbing towards the stratosphere, shedding layers of sound while traveling in zero gravity, vulnerable, then reforming at light-speed with Jerry staffing the ship of the Dead towards certain explosion. Jimi Hendrix died the night before, and it seems to me as though the band is playing their respects to him through the luminous feedback bursts throughout the set and the crazed, prickly guitar lines Jerry creates. After the quiet section, Bob's rhythm work establishes a firm ground for Jerry to take off from. Unexpectedly, the band dips into the "Feelin' Groovy" jam (or "UJB Jam," if you prefer) about 16 minutes into "Dark Star." Five minutes later, they're back to the main theme. Jerry's guitar is melting throughout this section, evaporating, ceasing to be a physical object and instead uniting with the spirits to create one consciousness. I can't overstate how special this "Dark Star" is. The tape is worth a Lightning Skull for this tune alone. Not surprisingly, the rest of the set is exceptional too. The three-way harmony in "St. Stephen"'s key riff is awesome to behold. The jam leading to "NFA" is so high energy, you wonder how they could keep it up. The "NFA" burns and the transitions into and out of the "Darkness Jam" and "China Cat Jam" and back to "NFA" are mind-blowing. Leave it to Pigpen to close the show with his signature R&B rave-up, "Lovelight." A must-hear, necessary component to any Dead collection. One of my favorite 1967-1970 tapes.

Dark Star

1973-03-28 - Springfield Civic Center

Venue: Springfield Civic Center - Springfield, MA
Tape History: SBD
Release History: None

Set 1
*Cumberland Blues, *Here Comes Sunshine, Mexicali Blues, Wave That Flag, BIODTL, *Loser, Jack Straw, Box Of Rain, They Love Each Other, El Paso, *Row Jimmy, Around And Around, Brown-Eyed Women, You Ain't Woman Enough, Looks Like Rain, *China Cat Sunflower -> *I Know You Rider

Set 2
Promised Land, Loose Lucy, Me & My Uncle, Don't Ease Me In, The Race Is On, *Stella Blue, Big River, Half-Step, *WRS Prelude -> *Dark Star -> *Eyes Of The World -> *Playin' In The Band, Johnny B. Goode

Comments:
11-29-2010: I know, I know. Just starting the site out and already two 1973 shows? Can't help it, it's arguably the Dead's most consistent and amazing year. I know I haven't touched the big '73 gigs (02-15, 05-26, 11-11, etc), only gems for now. Sometimes the lesser known shows serve as a useful tool to put shows and tours in perspective.

Big surprise to open with "Cumberland." Kicks the proceedings off with strong energy. Following up with "HCS" was very smart, given how transformative this tune became throughout the year. I'd go out on a limb and say that this was one of the first great versions of the year. (I'm fully aware that 02-15 is real gnarly as well.) Interesting bass sounds from Phil at the end of "HCS," sliding down the fretboard. His harmonic lines with Bob are on point. Love this version, though it's short compared to many other strong takes. First three cuts find Jerry in fine form, sharp tone ever-present. "Wave That Flag" pre-"U.S. Blues" lyrics is always hilarious. Got to admit though, that chorus is quintessential Dead. The first set remains song-centric, with a few longer excursions ("Row Jimmy," "Loser," and "Looks Like Rain.") Jerry's first solo in "Loser" matches the intensity and piercing tone from the 09-21-72 and Barton Hall versions. Strong playing by everyone in "China" -> "Rider."

Not gonna lie: second set looks just like a regular '73 first set would up until "Dark Star." (I was going to say "Stella Blue," since that tune is a second set regular as a landing patch or "everything's going to be okay" spot. But "Dark Star" easily draws the line.) "WRS Prelude" -> "Dark Star" is completely unexpected and very tasty, with big jam sections, and peaking solos by Jerry; it's not a deep space tune until nine minutes left. I refuse to call this '73 sound "jazzy" because there is nothing jazzy about it. I think it's a lazy crutch to describe the band's sound in this year. When they're jamming, it's fluid, open, controlled but expansive, and altogether fearless. This "Dark Star" has all of it. It's the best "Dark Star" of the year, with 11-11 coming in second. The transition into "Eyes" feels like an exhalation after the high concentration jamming. I can't believe they actually closed the show with "Dark Star" -> "Eyes" -> "Playin'." One the hardest-hitting jam segments this band ever put together. I give it a strong recommendation only for that, but truthfully, the feeble and bewildering first half of set two is enough to keep it from greatness. That's 1973 for you, adventurous, anything-goes jamming with sometimes odd setlist construction. There are other spring shows (02-09, 02-15, 05-26) that stand out as Lightning Skull gigs more than this one. This is still a solid companion piece to the more well-known early '73 shows.

1973-10-25 - Dane County Coliseum

Venue: Dane County Coliseum - Madison, WI
Tape History: SBD
Release History: None









Set 1
*Bertha, *Big River, *Here Comes Sunshine, Black-Throated Wind, They Love Each Other, Mexicali Blues, TN Jed [missing from tape], Looks Like Rain [missing from tape], Deal [missing form tape], El Paso, Row Jimmy, *Playin' In The Band

Set 2
China Cat Sunflower -> I Know You Rider, Me & My Uncle, *Dark Star -> *MLB Jam -> *Dark Star -> *Eyes Of The World -> *Stella Blue, *WRS Prelude -> *WRS Part One -> *Let It Grow -> GDTRFB -> Saturday Night, E: Uncle John's Band

Comments:
11-23-2010: This tape was my very first fall 1973 show. Maybe that's why it holds a special place for me. It takes a little while for the soundboard recording to really hit its groove. There are audible jumps here and there, and Phil is barely there until maybe halfway through "Bertha." There are many shows (and some would argue setlist construction) where the ebb and flow of a set will incorporate slower tunes between big jams, usually as a way to regain energy. Here the band had energy to spare and piled it on with no reservations. I'd also like to note a phrase I use in these reviews. Big jams often have soft landing points, i.e., "Black Peter," "Stella Blue," "China Doll," "Wharf Rat," et. al. I call these "everything is going to be okay" moments because they bring us back to Earth in a reassuring way after an intense sequence. This show has one of those moments.

The "Bertha," "Big River" opening tunes are inspired versions, Jerry soloing with purpose, creating hard, peaking melodic phrases. As far as "Berthas" go, only 08-06-1971 has a similar, angular and tense solo section from Jerry. The tone-setting "Bertha" should be a sign that the Dead were starting shit and taking names. Phil's inspired in "Sunshine." Bummer that the three tunes are missing from an otherwise grade A first set. "Playin'" goes off into space with Captain Jerry showing the way. Not the farthest out played in the fall of '73, but a solid version nonetheless.

Dynamic rhythm playing by Bob in the "China Cat" jam before "Rider," where Jerry mostly laid out as Bob did his chordal-based soloing. This is definitely uncommon, but it works! The "Dark Star" and "MLB Jam" sandwich is proof of exactly what this band is about. Inventive improvisations, where the band is pushing and pulling against each other, discovering new realms and creating indelible spontaneous compositions. Jerry and Bill, and Phil to a lesser extent, are the main instigators. (This show is yet another piece of evidence suggesting that the Dead were at their best with just Bill on the drums.) The feedback and tense guitar scales send the "Dark Star" out to the far reaches of the universe. Scary. In the role of "everything's going to be okay," we get a stellar "Eyes," with Phil and Jerry on fire. I loved how Jerry and Bob were on the same page with the "Eyes" intro, as Phil and Bill hit the root note and snare drum, respectively, in unison a few seconds later. Talk about being in the zone. This mind-bending sequence segues perfectly into a gorgeous "Stella Blue." Oh, and they play the "WRS" afterward. What a show! Dick Latvala called it "one of the all-time, out-of-this-world kind of shows...the most uncompromising show in GD history perhaps." By the way, as if ending with "WRS" isn't enough, you get a barn-burning "GDTRFB" and a "Saturday Night." An unforgettable night where the energy and drive to explore never lagged. I cannot recommend this show enough.

Bertha

Let It Grow

1977-11-06 - Broome County Arena

Venue: Broome County Arena - Binghamton, NY
Tape History: SBD
Release History: None









Set 1
*Half-Step, *Jack Straw, TN Jed, Mexicali Blues -> Me & My Uncle, Friend of the Devil, *New Minglewood Blues, *Dupree's Diamond Blues, Passenger, Dire Wolf, *The Music Never Stopped

Set 2
Samson & Delilah, Sunrise, *Scarlet Begonias -> *Fire One The Mountain -> Good Lovin' -> *St. Stephen -> *Drums -> *NFA -> *Wharf Rat -> *St. Stephen -> *Truckin', E: Johnny B. Goode

Comments:
11-20-2010: The last show of the '77 fall tour and of the upstate New York three-show run. All three gigs are outstanding, and in my opinion, rival the much admired May 07, 08, and 09 gigs. I'm aware it sounds heretical to say that, but I'm hoping to show why I feel that way through these reviews I'm uploading. I've had this tape for a while and I am continually amazed by how the band does not take a single moment off. Yes, there are flubs and mistakes, but the drive is always there. You can feel it in every song.

Any time "Half-Step" opens a show I'm going to take special notice and be absurdly happy. The jam in the coda section is lengthy - approximately two thirds of the song - and has impressive peaks all around. This was a fiery tune for the year, with many takes being considered absolute highlights: Alabama (05-17), The Mosque (05-25, with "Jack Straw" following too, one of their most underrated shows ever), and Winterland (06-09.) This take on the famed Jerry tune is a top fiver for the year (and therefore ever), with Englishtown (09-03) and Boston Garden (05-07) right up there too. The energy carried onto "Jack Straw," which burned with hot intensity. I'm not sure if the great segue between "Mexicali" and "Uncle" amounts to anything since the back-to-back tunes are a bit of a letdown. They must have dug the "Minglewood"/"Dupree's" pairing from two nights before because they repeat it here too, and it's just as tasty. Love the "Dupree's." The chord progressions suits Jerry's lyrical soloing style perfectly. "The Music Never Stopped" gets pretty out there as far as this song typically goes, and unfortunately, its return to the verse groove is completely botched. Jerry valiantly tries to make up for it, but the momentum feels lost. Phil's playing in "Samson" raises the bar for the rest of the band. The "Scarlet" feels a bit too loose, with lyrics missed and the structure a bit vulnerable. Jerry, as he is prone to do, jumps in to rescue the tune and boy does he deliver. Segueing into "Fire" take its sweet time and the suspense this creates is really enjoyable. The botched lyrics in "Fire" don't help though. Funny how that's endearing as soon as Jerry starts ripping. The rest of the second set certainly makes up for the lackadaisical beginning of it. Impressive "St. Stephen," "NFA" (with "Truckin'" teases) and one of the very best takes of "Wharf Rat."

Three straight shows in May and three straight shows in November. All six shows are top gigs for the year, perhaps excluding 05-07 (its "Half-Step" notwithstanding.) A very special year for the Dead, even the missteps worked and the inspired jamming was smooth and clean. Lightning Skull for my highest possible honor.

Half-Step

1974-02-24 - Winterland

Venue: Winterland - San Francisco, CA
Tape History: SBD
Release History: None

Set 1
U.S. Blues, Mexicali Blues, Brown-Eyed Women, BIODTL, *Candyman, Jack Straw, *China Cat Sunflower -> *I Know You Rider, El Paso, Loser, *Playin' In The Band

Set 2
Cumberland Blues, It Must Have Been The Roses, *Big River, *Bertha, WRS Prelude -> WRS Part One -> *Let It Grow -> Row Jimmy -> Ship Of Fools, Promised Land, *Dark Star -> *Morning Dew, Sugar Magnolia, NFA -> *GDTRFB -> NFA, E: It's All Over Now, Baby Blue

Comments:
11-21-2010: This was one of my first tapes along with 08-27-1972 and 05-08-1977, all from the nugs stash in early 2003. Love the opening comments from Bill Graham. Wonderful wah-wah solo by Jerome in "Candyman." Everybody's feeling pretty frisky in "China" -> "Rider," with Bobby playing some exceptional rhythm leads. The transition into "Rider" is invisible, and there Jerry picks up his playing. Surprisingly, the band goes into the "Feelin' Groovy" (or "UJB," if you prefer) jam in the middle. Big Phil bomb in the "headlight" verse. The first brilliant "Playin'" of the year, more mellow and exploratory than the intense, aggressive fall '73 style. Bill's drumming in the latter part of '73 and through most of '74 really drives the band forward. Listening to "Playin'" you could tell how much each member actually listening to one another, they never "went through the motions" in this period. Fiery "Let It Grow" gives way to a perplexing middle of the second set, where the flow is interrupted and song choices are confounding ("Row Jimmy" -> "Ship Of Fools," "Promised Land") before the majestic "Dark Star" -> "Morning Dew" pairing, one of the very best out there. (There's a short "Spanish Jam" near the 24 minute mark of "Dark Star.") I always felt this was one of my favorite '74 shows, but after digging the June, July, and August shows, I am unable to award this show a Lightning Skull.

"Playin'" notwithstanding, these February '74 Winterland gigs are more in character with the fall/winter '73 gigs than with the rest of 1974. Perhaps they should be heard as as continuation of the 1973 sound rather than straight up 1974 gigs. The band turned the corner after 03-23-1974 because that was when the Wall of Sound debuted. I like to say that the '74 sound came into being after that gig.

There are few tunes more cherished in the Grateful Dead catalog than "Dark Star" and "Morning Dew." When they are paired the results are often magnificent. This particular pairing, the tenth out of only 12 the band ever played, is enthralling. The band is patient and focused. A common description of this show is that it is "mellow," and though it may be somewhat of a cliche, it is also true. This "Dark Star" doesn't push to the outer realms, but it is beautifully developed. The "Dew" is an emotional landing point. I can't say enough about this sequence. For me, only 1972-09-21 (Dick's Picks #36) and 1973-10-19 (Dick's Picks #19) challenge this one. I'll be posting the review to 09-21 soon, so keep an eye out for that one!

Dark Star ->
Morning Dew