May 1977 Box (Digital)
• Five Complete Shows
• 5/11/77 St. Paul Civic Center Arena, St. Paul, MN
• 5/12/77 Auditorium Theatre, Chicago, IL
• 5/13/77 Auditorium Theatre, Chicago, IL
• 5/15/77 St. Louis Arena, St. Louis MO
• 5/17/77 University Of Alabama, Tuscaloosa, AL
•14 Discs, 111 tracks
•Mastered in HDCD by Jeffrey Norman, Plangent Processes playback system for maximum sonic accuracy
•Artwork by Grammy Award-winning graphic artist Masaki Koike
•Period Photos by James R Anderson
•Historical Essay by Steve Silberman
•Individual show liner notes
MAGICAL, MYTHICAL MAY 1977!
If you're a Dead Head, chances are you've spent many an hour expounding upon the distinction of May 8, 1977, Cornell University, Barton Hall. Well, at the risk of preaching to the choir, we'd like to reintroduce you to a series of shows that matches said greatness from that same gloriously fertile season. While Barton Hall is well known, the astounding tour that surrounded it has occasionally flown under the radar due to the uneven quality of tapes in circulation. May 1977 is set to change all of that with a boxed set that zeroes in on this high-water mark in the Grateful Dead's long strange trip.
For a band resurrecting itself after a 20-month hiatus, there was a great frenzy of expectancy that surrounded the Spring of 1977. We anticipate a grand reoccurrence of this fervor with the release of May 1977, a 14-disc boxed set featuring five complete shows from consecutive stops on that magical tour. Mastered in HDCD by Jeffrey Norman at Mockingbird Mastering, the "psychoacoustic phenomena" as Jerry once put it, of St. Paul Civic Center Arena, St. Paul, MN (5/11) Auditorium Theatre, Chicago, IL (5/12, 5/13), St. Louis Arena, St. Louis MO (5/15) and Coliseum at the University Of Alabama, Tuscaloosa, AL (5/17) can now finally be appreciated. Each of these shows finds the Dead delivering punchier, more focused sets, tightening up the framework; each night turning out first-ever renditions ("Passenger,""Iko Iko,""Jack-A-Roe"), unloading potent new pairings ("Scarlet Begonias">"Fire On The Mountain", "Estimated Prophet">"Eyes Of The World"), classic covers ("Dancing In The Street") and soon-to-be staples ("Estimated Prophet," "Samson and Delilah"), and ultimately rising up to paradise.
And now for the nitty-gritty...
Due June 11, May 1977 is limited to 15,000 individually numbered copies. Presented in a psychedelic box that boasts an intricate die-cut design created by Grammy®-winning graphic artist Masaki Koike, the set also includes a book filled with stories about each show, as well as an in-depth essay by Dead historian Steve Silberman, who delves deep into the history behind the tour and the band’s return from its extended hiatus.
Once these 15,000 boxes are gone, May 1977 and its shows will never be available again on CD. However, the 111 tracks will be made available on release date as FLAC and Apple lossless full-set-only downloads for $99.98.
Like its predecessors Europe '72: The Complete Recordings and Spring 1990, we expect May 1977 to sell out. Your best bet is to pre-order it now, then sit back, relax, and enjoy all the exclusive content we'll be rolling out over the next few weeks right here and on Facebook.com/GratefulDead and Youtube.com/gratefuldead.
May 1977 Show By Show
Take a closer look inside of our numbered, limited-edition boxed set May 1977 with listening parties, videos, artwork and more from each featured show.
5/11/77 St. Paul Civic Center Arena, St. Paul, MN
5/12/77 Auditorium Theatre, Chicago, IL
5/13/77 Auditorium Theatre, Chicago, IL
5/15/77 St. Louis Arena, St. Louis MO
5/17/77 University Of Alabama, Tuscaloosa, AL
"Wharf Rat" 5/11/77
"Mississippi Half-Step" 5/12/77
"Dancing In The Street" 5/15/77
"Terrapin Station" 5/17/77
David Lemieux on What’s Inside May 1977
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On page 30 of the notes, Blair Jackson refers to something he calls a "Childe ballad". I know "childe" sounds appropriately Old (or Olde) English, but he means "Child ballad". In five volumes published between 1882-1898 Francis James Child compiled texts to 305 traditional English and Scottish ballads, that have ever since been known as the Child ballads. But I do think Blair's notes are great.
i usually skip "fire on the mountain"...it ruins the the best song the dead ever wrote (scarlet)
there, i feel better now
that said i am loving the 5/77 box
particularly bob's guitar and keith's keys up high in the mix, and even donna is right on the money
other skippers are row jimmy & sugaree, but only after the first pass thru. i dont really own any 80's stuff, but it goes without saying that the abominable "cc rider/walkin blues/red rooster" quickly causes the XM channel to change, plus any brent song
LLR appears to be a popular skipper, but for me, the post 74 versions with donna harmonizing are some of the best vocal performances the band ever did
As Allman said, audience participation "never translates very well to recorded music". Well, almost never. Quicksilver's "Happy trails" is a notable exception to this. The band and audience were really working together that night. At the other end of the scale, we have all surely cringed when the singers shouts "Sing this with me!", points the mic at the audience and is greeted with an embarrasing silence. This translates particularly badly to recorded music as the audience, if recorded at all, are at such a low level compared to the band that they might as well not be there. It is also possible that the band were playing to an empty hall!
Wow - The audience chanting "Know my love..." as the band exited always gave (and still gives) me goosebumps. My favorite: Alpine '89. Absolutely transcendental.
My skip song is always Not Fade Away with the audience participation mostly from the 80’s. Audience participation is one those “had to be there” situations. Never translates very well to recorded music.
I know a lot of people don't like the Mutron III or the MIDI rack, but I have grown to love it. The synth keys (played by Ozzie Ahlers) from GarciaLive Vol. 1 sound great to me, but then, I love early synth music. The synth on "Feel Like a Stranger" is probably my favorite, and Keith does some cool work on "Lazy I will say that nothing ruined a good Ramble on Rose like Jerry switching off the Mutron (which I like quite a lot for that tune) and turning on the MIDI trumpet. Godawful.
I will say that nothing ruined a good Ramble on Rose like Jerry switching off the Mutron (which I like quite a lot for that tune) and turning on the MIDI trumpet. Godawful.
I know a lot of people don't like the Mutron III or the MIDI rack, but I have grown to love it. The synth from GarciaLive Vol. 1 sounds great to me, but then, I love early synth music. It all comes back to taste, I suppose. I will say that nothing ruined a good Ramble on Rose like Jerry switching off the Mutron (which I like quite a lot for that tune) and turning on the MIDI trumpet. Godawful.
I loved the MIDI! Every time I hear Jerry go full MIDI I feel a great wash of relief- the freedom of no possible comparisons to pre-hiatus Dead. It's easier for me to accept late-era Dead on its own terms when MIDI was used. Otherwise, comparisons to the golden era keep creeping up.
Of course, Jerry never abandoned acoustic music, and was playing some of the best in his life at the same time (with Grisman).
As for song skips, for me this depends a lot on the era. I love all of 68-74; nothing is skip-worthy. Even my least favorite songs (e.g. Looks Like Rain) were magic during Europe 72. After that I am more picky. And some songs really require a certain mood from the listener. "Stella Blue" might be my favorite song of all, but I seldom listen to it and usually skip over it. I mean, you have to be in the right mood for it and give it full attention. It doesn't work as background music.
p.s. thanks syracuse78, I'll take that Road Trips suggestion
"It always surprised me that Jerry, who loved traditional and acoustic music, felt the need to embrace MIDI and the like. What do others feel about this?"
I see what you mean, but to me this was totally consistent with his need to experiment - the same impulse that was behind his switch from acoustic jugband music to electric rock music. It's easy to forget what a radical step that was in 1965 ("JUDAS!!!"). I don't like the MIDI sounds myself (too bad because I recognize the greatness of their 1989-90 stuff, and often enjoy it, but the MIDI wears on me... but then I think they were playing so well in part because it made it feel fresh to *them*).
As for skip songs - Clarification: I always listen to the complete show the first time, the skipping comes on subsequent listens. And this is not just to get the context of the show - sometimes a "skip" song has some unique quality that brings me back, hence I would never skip a song without at least one listen through. This might get put to the test when I get to my fifth consecutive Estimated, ha ha....
Working my way through 5/13 now, which I already had. The sonic upgrade is astonishing, natch. Still, and to my surprise, loving 5/11 the best so far...underrated indeed. But I've never heard 5/17 at all (except the Jackaroe), so I'm anticipating a real good time with that one.
OK, Bolo... Bozo here... yer drivin me nuts. Another DP7 hint please... and are you on da inside? :o)
no argument from me on the Brit. proggers although I liked a lot of King Crimson, whether over the top or not. With Jerry and MIDI, I always thought part of his interest was new palette of sounds available to him to keep it fresh for him but part of it was different physical skills avail. to him after the coma. If the MIDI wasn't abused it could lead to some pretty classy music which was spacey, elegant and jazzy as well.
There is a world of difference between British prog rock bands and American rock bands. To me the difference is that American bands such as the Dead, ABB and many others have a natural sound whereas British prog rock bands have a more contrived sound to my ears. As such, synthesizers do fit well in '70's prog rock, but by the '80's their music had become so self-indulgent, overblown and pompous as to be unlistenable (for me). Synthesizers and the like which (rather obviously) produce synthetic sounds have no place in the more natural sound of American rock bands. Of course, in the '70's there were some British bands that had a more American sound - Man, Help Yourself and Brinsley Schwarz to name but three - and there were undoubtedly American bands that sounded somewhat like British prog rock bands (though I cannot think of any offhand). I guess it has more to do with whether the sounds fit the music than the music itself. If it sounds good, why change it just because new devices are available. It always surprised me that Jerry, who loved traditional and acoustic music, felt the need to embrace MIDI and the like. What do others feel about this?
Same thing here... the box (looking fantastic by the way) got as far as my local post office but stuck there until I coughed up £26.60... I know that this isn't the fault of the Dead... but I do feel kinda stung by someone...
You can rest easy - no Sugaree on DP7
Yes Garcia vol 1 becomes a difficult listen because of those ridiculous synth keyboard sounds. When he plays a solo it sounds like he is playing a toy casio with little alien blurps & beeps coughing out of it. And then thankfully Jerry takes a guitar lead & saves the day. It's certainly an odd juxtaposition to say the least & it does not work at all. I'll stick to my Let it Rock Jerry & Nicky Hopkins set.
As for synths, there are times when used tastefully they they do not sound like an overproduced 1980's train wreck. For reference just listen to Rick Wakeman's work on Yes' mighty fine Close to The Edge LP. Just hearing that 20 minute title track in my young teenage years made me feel like I was tripping, years before I experienced it for real. Thank goodness that Music can have special powers.
Sugaree - I love it when Jerry goes nuts in the middle, then wrestles it gently back down to earth. I always knew a show was going to be a good one when "Sugaree" was the second song of the night. Happened often in Europe 72.
Skippers for me - Stagger Lee, It Must Have Been The Roses (though I like the lyrics and acoustic versions). Never cared much for Dupree's Diamond Blues, though it was seldom played.
Great songs that suffered from latter day tempo changes: The Wheel, FOTD, TLEO, and, at the risk of being labeled a blasphemer, St. Stephen (what a juggernaut that was in the sixties).
There. I feel better. Though I'm not a Catholic, I feel like I just went to confession!
Hey davey concepcio..., I really agree with you on Phil's singing. I commented on that on the DaP6, because, as you said, he off-key singing in, for example, Cold Rain and Snow, or High Time, really ruins it for me. It's so terrible that sometimes I decide not to play those live versions to friends because I'd feel embarrassed.
Synthesizers in general and MIDI in particular are an abomination, the evil spawn of the digital revolution with a nod to the disco era. I cannot recall hearing a "digitally enhanced" version of an old song that sounded better than the original. A recent classic example is "GarciaLive Vol. 1" where the highly talented Ozzie Ahlers produces endless annoying sounds on his keyboard when he should be playing a B3 or something of that ilk. The MIDI sounds that the Dead embraced only detract from what was otherwise a great mix of sounds. That is just my personal opinion but when I become ruler of the cosmos things will be different.
Rarely skip when listening to a show for the first time. But, on repeats listens, I must confess to hitting the "skip" button on Loser and Looks Like Rain. I also confess that on the most recent Dave's Pick 6 - which is generally simply amazing - I am tempted to skip any song in which Phil sings. My Lord, that man not only cannot sing, but in the early years it can, and sometimes does, ruin songs. I've never understood why he felt the need then or now - I've seen many of the iterations post-Jerry, and though his playing continues to sparkle, surprise, elevate the entire music (greatest Rock bass player ever? IMHO, yes), his singing is simply not worthy of a professional performance . . . a campfire, yes, but not a stage.
Love and Hugs to all!
DCFHOF (its time)
Good to hear that you got yours. Unfortunately mine didn't arrive today and I don't think DHL deliver on Saturdays (I hope I am wrong, otherwise I will have to wait until next week). Indeed delivery is slower than expected - tracking shows that it left Des Plaines, IL, on June 10 at 3:03pm which is 11 days ago. If that is DHL's idea of Express then they must be using the FYRA Express model (Dutch in-joke!). Also good to hear that no extra charges were levied. I seem to recall that there were no extra charges for the "Spring '90" box either.
I haven't listened to a Row Jimmy in so long I blanked on that one! Thanks for reminding me, reijo. I also fully agree on the midi effects. I just received the All the Years Combine DVD set and put in the bonus DVD and the midi effects ruin an otherwise fine Shakedown at Soldier Field (I was at that show and remembered thinking the same thing). I long had the 7/8/90 Pittsburgh DVD and the midi ruins some of the songs on that one as well. Whenever Jerry uses it, all I can think is, "Jerry, I would like your guitar solo to sound like a guitar, not a breathy horn."
Mustin, I should amend my original post-- many of us have skip songs, not all of us. I tried to go the completist route for awhile, and then I would come to a Row Jimmy or LLR knowing a Jack-a-Roe or something hot was right after it. I couldn't do it.
Regardless of who I saw, there were always "bathroom songs" for me-- Clapton shows, Wonderful Tonight; Stones, Brown Sugar or another of the many war horses depending upon placement in the show; Dead, see above. I guess I fall into the rocker camp rather than the ballad camp.
I am really starting to wonder what DP7 will be. I hope an 84, 85 or 87 show myself.
I'm really enjoying reading people's skip songs. It's so interesting to see what works for some folks and what doesn't.
I started off as a total Jerry guy, but playing in a few Dead cover projects over the years really got me to open up to Bobby more. I will say that most of my "skip songs" are Weir-centric, but even of these occasionally a version will grab my attention. Generally I listen to complete shows/releases, etc. More often than not my skip songs are really change the station songs on the Grateful Dead Sirius station.
My skip songs:
-Pretty much and Chuck Berry or Dylan tune - all of these were done to death (exception, perhaps Visions of Johanna, and I like a tasty Queen Jane on occasion).
-Lost Sailor (although I don't mind Saint of Circumstance as much)
-It may be blasphemy, but live versions of Box of Rain can grate on me
-C.C. Rider, Little Red Rooster, basically any Weir blues tune from the 80s-90s
-On occasion Fire on the Mountain - this to me can be more repetitive than Sugaree
-FOTD - just overplayed on the Sirius XM, tend not to skip otherwise
-Man Smart, Women Smarter & Wang Dang Doodle - I just find the lyrics annoying
-Tons of Steel
The song that I love, that most people seem to hate: I Will Take You Home. I think it became even more poignant after I had a kid, but I love that song.
I'd be remiss if I didn't mention how much I enjoy the May 1977 box as well here. I thought the packaging on this one was phenomenal. Keep it up GDP/Rhino crew!
a little later than expected, but then again, @ no extra cost. Looks beautiful, haven't heard it yet, but will shortly...
i usually listen to it all, but Samson and Delilah gets old real quick.
If I had my way
if I had my way
If I had my way
if I had my way
if I had my way
if I had my way
I have also called Sugaree "the most exciting boring song ever". very repetitive. BUT I won't skip 3/18/77 or 5/19/77 or whatever. 12/5/71!!!
LLR...ugh. played to death. I have to be in the mood to listen to this one. so...slow.
I have always been a big fan of what Bob does and to what he brings to the band. He is vastly underrated as a guitarist. He adds just what the band needs to bring out the best in the tunes and he plays off of Jerry very nicely. I am also a huge fan of the songs he has written and his cowboy tunes always ramp up the show. Watch him on any dvd and you can see what a good time he has but also how very serious is he about playing his parts. The Dead always were a great example of synergy, the sum of the parts is way more then just adding up the individual talents.
I am not boasting about this, because I don't care if someone doesn't like a particular song, but I never skip any songs. I am completist and I usually try to listen to the complete show. That being said, if I ever skipped a song, it would most likely be a Chuck Berry tune.
With Bob's playing, when I first started to listen to the Grateful Dead, it was really hard for me to tell what Bobby was doing. His playing is amazingly subtle and completely unique to any other guitar player. I agree with what others posted on here about him fitting in with Phil & Jerry. More often I hear people praising Phil or Jerry but Bobby, I think, is a greatly underrated guitar player. I think David Crosby described him as being the 2nd lead guitar player in the band. I think that is pretty spot on because he rarely seems to play a "conventional" rhythm part. I am a guitar player and sometimes, while watching a show, Ill try to copy what he is doing and Im always surprised at how odd his style is but also how perfect it'll fit in with the rest of the song and how it fits in the middle of what Jerry & Phil are doing (and whomever's keys part)
Loving May 77 box 14466!
A Help/Slipknot would have been nice if it was played on one of these 5 shows. Would definitely trade that for Row Jimmy. That is my skip song, it has a nice laid back reggae feel but always goes on for ever and ever and ever....
I love & respect Bob's coloring in on rhythm guitar but he crosses the line on the 90 box set with all that midi stuff. (in some shows more than others. The Nassau show is loaded with him on midi but the Copps show he lays off it except for Space-which is where it works). Jerry uses the midi somewhat tastefully. That midi effect can cause some awful schlocky, processed, imitation keyboard synth sounds. At times it really ruins it for me, they already had Brent behind the keys so there was no need for Bobby to add those sounds. I am sorry but if you see Furthur today you notice how Bobby plays rather pure straight through a tube amp. All that late 80's early 90's experimenting with cheesy gurgling midi effects was (at least in hindsight) a mistake.
Obviously we will all have our faves and our not-so-faves. I myself have always loved Sugaree. Jerry cranks on this tune and I always love it! I am not a big fan of LLR and I definitely do not care for Stella Blue or Morning Dew. I am really loving the Estimated Profits & Passengers in this box. New tunes at the time. I myself would never skip any tune. Maybe I am crazy like that, but I just feel if I am listening to a complete show, I should listen to the complete show. But that's just me. To each his own. That's what makes this Dead world go around. I will probably not to listen to anything but this box set for several more weeks. Then I will definitely be starting to salivate for the next DaP. Can we never get enough "new" stuff? Addicted I remain.
Everyone has to admit there are skip songs. Why would you suffer through listening to your least favorite song when you know there is a kicking number, maybe your favorite, right around the bend? For me, Looks Like Rain is usually a skipper, but then a good one comes along like on the UCLA 73 show. This is going to be blasphemy and I can already hear the moans and insults heading my way, but I rarely ever listen to Stella Blue. I have heard good ones, but I pretty much do not like that song and skip it almost every time. The melody just does not grab me and it makes me want to go to sleep. I like Sugaree fine though-- especially 1984-85 versions.
Re: Bob Weir. The guy is fantastic and I have really appreciated him more and more in the post-GD era. I had friends in the 80s and 90s who hated Bob-- perhaps it was the Daisy Duke shorts and Izods, but they could not stand him. I liked that a Jerry ballad (Stella Blue maybe) was frequently followed by a rockin' Bob tune to get us up again.
I will never forget a show with my buddy at the Boston Garden when his desire for food outweighed his desire to listen to a version of Althea. Vendors were walking around soliciting food and right in the middle of the song he yelled out “Hey Pizza”! We proceeded to pay the vendor down the aisle and change was returned. Before the end of the song, a pretzel vendor walked by and he yelled “Hey Pretzel”! So much for hearing Althea that night. If Bobby was with us he would have given him another “Shut the #%!% up”!
We all can't like every song to the same degree. Some songs we never want to here and some that we certainly want more than others. With some my friends there were always the "bathroom" songs.
I've always liked sugaree. Look Like Rain too, some great Barrow lyrics and I love Jerry on this tune.But, we shouldn't be afraid to or have apologize for not liking a song. As long as there's no hate behind it, all critique is welcome.
Now, I've always been a big Bobby fan. He's one of my favorite singers - inside the Dead world or out. And I dare you to find better rhythm guitarist anywhere. I hate to just call him just a rhythm guitarist he much more than that. He does a lot lead work, too. The whole WRS Prelude is all Bobby. Check out Bobby's solo acoustic demo for WRS on the Wake of the Flood expanded version. Just great.
And the Spring 77 Box is just awesome
It's arrived in the North East of England......but not in my home until I've paid £26.60 (including £8 handling fee) qnd collected it tomorrow morning from the local Royal Mail depot.
Buying the Dead and doing your bit for the Country....got to love it!
It's a testament to the band's range, diversity, and longevity that we have so many things to disagree about(!) To wit: I happen to LOVE Victim or the Crime, Throwing Stones, West L.A. Fadeaway, and a few more tunes others find as cringe-worthy as I find Sugaree. On the other hand, farked-up Playin' in the Bands really bother me - even when the long stretches are fine. Go figure!
Re Skip Songs: "Around and Around" (along with the maligned Sugaree) has my vote.
Re Dancin': Garcia's extended DITS solos were often terrific. I've learned to embrace the disco.
You asked about any good jamming Dancin's. I was at 11/9/79 in Buffalo, and it was a *fantastic* show. The energy that night stood out to me more so than probably any other show I saw. This was released on the first Road Trips (great call TPTB!), and I highly recommend it. The DITS has got this very cool electronic sounding jam in it and just rocks, all the way into Franklin's Tower. What a way to open the second set! Check it out.
i loved listening to black throated wind until i got the E72 complete, but hearing 22 of em in a couple weeks time when i first received the set caused me to occasionally consider skipping them when they come up, but i never tire of playing it on gtr
Star Dark, I agree with Patagonian - your comment about Sugaree was NOT "troll-like" - Though I too love Sugarees, your comment was totally valid and welcome. A "troll-like" comment is when someone goes beyond criticizing something like a song and turns it into an ad-hominem attack (e.g., "people who like Sugaree are mindless dupes."
One Man, I totally see your point about LLR, but they've grown on me. And I gotta say, my highlight for 5/11 set 1 is the LLR. On good headphones the interplay and nuance is out of this world. And it always strikes me that Jerry LOVED playing that tune - some of his best guitar work...
Okay, my number one "skip song"? Black Throated Wind. Yes, that's right, a good song, often some great playing, but I can't listen to the way Bobby (over)sings it... it's so out of his range that he sounds like he's going to pass out. But who knows, maybe it will grow on my the way LLR did...
I'm always surprised when folks on the forum are offended by criticism. Although I love Blair Jackson's ability to provide deep context, I used to tire of his relentless cheerleading, especially because part of his job was to sell product. I'd rather discuss, compare and contrast. I am a lover of Sugaree in all its forms. For me, the skip button was made for one song. Written in the letters of its name: LLR. But it's all right, Grateful Dead, 'cause I love you. That's not going to change.
but please don't be afraid to speak your mind star dark. anyone who tells you not to express opinions they disagree with can suck it.
for far too many people these boards are just a forum for them to demonstrate how far they can stick their head up jerry's ass. we get it. you love the grateful dead more than the average bear. thanks for sharing. it shouldn't matter if a statement is positive or negative. all opinions are welcome.
Totally agree with you, star dark. Before the 2013 subscription (my first) I made three song lists: "please please please", "always welcome" and "no more". "Sugaree" topped one of these lists... However, getting deeper into the realm of the Dead, I noticed that very often the unwelcome choices are presented in awesome and mind-blowing versions.
Fridays are my short work day and I arrive home to see a box sitting by the door! Time to change clothes and start listening.
I, too, find the sound of Spring '90 plenty fine.
Re Mr. Weir, it's been said he functioned as an indispensable/essential buffer between Jerry & Phil. Couldn't agree more - and he may have been the only guy on planet earth suited for it. Must've helped immensely to have developed his technique while playing with those two radically different musicians. It's fascinating to hear how that technique translates to solo acoustic work - TMNS being a wonderful example.
PS - Nice little story in the Rock and Roll section on the 77 Tour and Box in this week's Rolling Stone - and a nice 4 star review of the Box as well.
My plan has been to listen to the Box in sequence with the rest of the spring 77 tour. I've just completed the second set of the second night in Chicago, 5/13. I've reached the conclusion that the Drums>Jerry Solo>Other One>Stella is Dead ROCKNROLL at its finest. I mean, there aint nuthin jazzy, funky, Bakersfield country about it . . . just GOOD TIME ROCK N ROLL!
Any word on the next Dave Picks release . . . isn't it due for release in August?
Hugs n kisses to all,
I thought Bobby's guitar was really prominent in the Spring 90 Box and that was one of my favorite things about it...(?)
Love the box- no complaints, here. I'm really enjoying hearing Keith's playing on this set. He's always been my favorite Dead keyboardist, by far, but I've generally ignored the post-hiatus stuff. Usually, I can barely hear him on late 70's shows, anyways. But the combination here of great shows, great sound, and good headphones is pretty awesome. Keith would be my favorite Dead keyboardist based on this set alone, even if we didn't have his glorious 71-75 period.
I'm not sure what to think about the long "Dancin'" jams. Usually they are among the longest jams of any 77 show, and therefore, should be a highlight, right? I don't think I've ever heard or read anyone praising an "epic" Dancin' jam. I'm not sayin' I don't like them. Jamming is jamming. They just take some getting used to. They are pretty spacey and I can't imagine anyone dancing to them(?).
I agree Weir is underrated, but probably mostly by non-Deadheads. I suspect most self-described Deadheads appreciate him just fine.
I have a hard time hearing Bobby's guitar in the Spring 1990 Box. Not sure if it is me or the way Healy set the board?
Hi there, Dr. Shakedown!
Well, how's this for a conundrum: had you followed your own counsel ("go be a critic somewhere else") and not posted your negative comment, I might have invested more consideration in it!
In any case, this is a forum. Not every post can (or should) be rainbows and lollipops. I just happened to notice that quite a few Dead-related posts, ad blurbs, etc. assume we all dig Sugaree. Some of us don't. It was a flip comment - nothing to be offended by.
As a make-good, here's a little ray of sunshine: I firmly believe Bobby's contributions to the band's sound (both within and beyond May '77) were immeasurable. Folks love to bash the guy, but if only they could hear the music without his incredibly innovative rhythmic interjections (*and* he played much more "lead" than many realize). It could be argued that he added just as much value as Garcia. A close listen to the new box (and beyond) should validate. Just plain freakin' awesome.
If you have to open a statement with an apology.... Why not just not make the statement, go with your instincts and be quiet, skip the track, and go be a critic somewhere else.
Only one Sugaree on the '77 box set. Star Dark, u must be happy w/ that?
Got a message from my wife this morning .... The box was dropped onto my porch this morning.
Nothing to pay ! Just starting to rip them now.