July 5 - July 11, 2010
Welcome back to the Tapers' Section, where this week we have music from the 1980s, three sequences that ended concerts. We hope your 4th of July celebrations were fun!
Our first stop this week is on April Fool's day, 4/1/84, at Marin Civic, the last-ever Grateful Dead show at the tiny, Frank Lloyd Wright-designed Marin Civic, a terrific venue. From that show, we have the second-set closing sequence of Morning Dew>GDTRFB>I Neeed A Miracle>Good Lovin', Touch of Grey, the last song being the encore. These shows must have been particularly fun for the band, being so close to home, and for the office staff and crew, as Marin Civic was only a mile or so from GDHQ.
Next up is more music from Laguna Seca '88, specifically the middle show of three nights, on 7/30/88, where we have the post-Space sequence of Smokestack Lightnin' > Goin' Down The Road Feeling Bad > Wharf Rat > Throwing Stones > One More Saturday Night. Cool to see a Smokestack out of Space.
Lastly this week, from 7/31/88 at Laguna Seca, we have the show-ending jam of The Other One > I Need A Miracle > Morning Dew, In The Midnight Hour, with the last song being the encore. There were a few repeats in this week's Tapers' Section, but we don't mind, as they all fall within unique sequences.
Be sure to stop by next week for more great GD music. We have some fun stuff coming up. As always, we encourage you to write to us at the Tapers' Section, at the email address below. Please be sure to include “Grateful Dead” in your subject to make sure your missive busts through our state-of-the-art spam filters.
In all of art through all of history there has always been an inevitable cycle of birth, growth and decay. Whether it is an individual artist, a group, an art form or even an entire culture, the energy and creativity that cause the art to happen cannot be sustained indefinitely. There is a force needing to be expressed that shines out, often outpacing the artists' ability to express it perfectly (GD 1966 - 69...); the need to fulfill the desire to express expanding imagination demands greater skills and resources, but yields inspired genius (1969 - 1974); there comes a golden age, where every part of the game is hitting on all cylinders, cruising under its own power (1974 - 1983); the machine needs to be fed, but it is so good it keeps on running (84 - 89); eventually even great skill and great material from the past turns into going through the motions in the manner to which everyone had become accustomed.
Nobody misses the power of the music back in the day more than I do. Sometimes I weep at what is lost but for memory. But during the 80's and other times when the whole music culture just sucked a big one, there was one band you could count on for a high level of professionalism and sincerity, wonderfully skilled and together, always touring, and with about a hundred great songs. Where else we gonna go?
Even now, when I mention to old friends about Furthur, I get this "Ho hum... cover band" response. Fine, but where else are you going to go hear people jam on "Born Cross-Eyed'"Cumberland Blues""The Wheel," and so on? No it sure is not the good old Grateful Dead, but I will be out at Red Rocks with my son this fall, and we will both have boogie shoes on. "You know my love will NOT FADE AWAY!"
~ I'll meet you some morning in the sweet by and by
I agree with mpace. Although songwriting weakened throughout the 70s, culminating in the
embarrassment that was "Go To Heaven". With the vibrance and intensity of punk and new wave exploding, as much as a deadhead as I was, there were many times during that period
I wouldn't admit it. I remember at In Denver '79 after a McNichols Arena show I was with a guy visiting from England who had also seen the show. He was appalled and disgusted by it. Now I knew there was a degree of unbridgeable cultural divide there but I understood his grievances. Disco sucked, I was horrified and mystified by the disco arrangement of Dancin' In the Streets and stuff like Shakedown Street (eventually the best live versions won me over as psychedelic funk).
To assess performances eras, I go by what I describe as Jerry's physical ability to perform at the highest level. Playing and singing. Despite the crappy songs of the late 80s, Jerry began to truly decline when he turned 40 in '82. It never really comes back from there.
Show format set in stone.
Compaction of jam songs like The Other One.
Jam transitions become extremely rare.
Tempos often drag.
We think it's working now but speak up if it's not.
thanks for the heads up, I'll put a crew on it...
...from the links today. Strange. Same for anything from the taper's section.
sorry for the glitch!
hey marye, i think they are working now. i too encountered that as late as yesterday, but today i get the full clips for both the 88'ers
I am mining my collection. I am pretty sparse on GD92.
I listened to 12/16/92 set 2 for the first time in a long time. Interesting show. SHAKEDOWN STREET (Phil: BAWM!). Space > Dark Star. Casey Jones encore.
I have always liked 6/20/92 set 2, esp Space > Casey Jones.
The biggest surprise is 2/24/92 set 2. I got the tape a long time ago, and knew it was special then, but hadn't listened in years. WOW. I recommend it highly. I don't have CDs, only cassette. If you take me up on my suggestion, don't look at the set list; just listen. There are plenty of surprises, and a few magical moments as well.
Any of you know what I mean?
having the truncated-clip problem unklesam mentions?
One thing I've noticed and that is that where is Phil's bass in the mix. Very seldom, at least to me, do I ever hear his bass in the mix. Especially in the 80's. It's almost non-existent! This really started back in 1977, and got progressively more so in the 80's. When I do hear his bass, the band sounds better.