Spring 1990 (The Other One) Box
Less Than 500 Units Left.
•144-page paperback book with essays by Nicholas G. Meriwether and Blair Jackson
•A portfolio with three art prints by Jessica Dessner
• Replica ticket stubs and backstage passes for all eight shows
•8 complete shows on 23 discs
•3/14/90 Capital Centre, Landover, MD
•3/18/90 Civic Center, Hartford, CT
•3/21/90 Copps Coliseum, Hamilton, Ontario
•3/25/90 Knickerbocker Arena, Albany, NY
•3/28/90 Nassau Coliseum, Uniondale, NY
•3/29/90 Nassau Coliseum, Uniondale, NY (featuring Branford Marsalis)
•4/1/90 The Omni, Atlanta, GA
•4/3/90 The Omni, Atlanta, GA
Recorded by long-time Grateful Dead audio engineer John Cutler
Mixed from the master 24-track analog tapes by Jeffrey Norman at Bob Weir's TRI Studios
Mastered to HDCD specs by David Glasser
Original Art by Jessica Dessner
Individually Numbered, Limited Edition of 9,000
Announcing Spring 1990 (The Other One)
"If every concert tells a tale, then every tour writes an epic. Spring 1990 felt that way: an epic with more than its share of genius and drama, brilliance and tension. And that is why the rest of the music of that tour deserves this release, why the rest of those stories need to be heard." - Nicholas G. Meriwether
Some consider Spring 1990 the last great Grateful Dead tour. That it may be. In spite of outside difficulties and downsides, nothing could deter the Grateful Dead from crafting lightness from darkness. They were overwhelmingly triumphant in doing what they came to do, what they did best — forging powerful explorations in music. Yes, it was the music that would propel their legacy further, young fans joining the ranks with veteran Dead Heads, Jerry wondering "where do they keep coming from?" — a sentiment that still rings true today, a sentiment that offers up another opportunity for an exceptional release from a tour that serves as transcendental chapter in the Grateful Dead masterpiece.
With Spring 1990 (The Other One), you'll have the chance to explore another eight complete shows from this chapter, the band elevating their game to deliver inspired performances of concert staples (“Tennessee Jed” and “Sugar Magnolia”), exceptional covers (Dylan’s “When I Paint My Masterpiece” and the band’s last performance of the Beatles’ “Revolution”) and rare gems (the first “Loose Lucy” in 16 years) as well as many songs from Built To Last, which had been released the previous fall and would become the Dead’s final studio album. Also among the eight is one of the most sought-after shows in the Dead canon: the March, 29, 1990 show at Nassau Coliseum, where Grammy®-winning saxophonist Branford Marsalis sat in with the group. The entire second set is one continuous highlight, especially the breathtaking version of “Dark Star.”
For those of you who are keeping track, this release also marks a significant milestone as now, across the two Spring 1990 boxed sets, Dozin At The Knick, and Terrapin Limited, the entire spring tour of 1990 has been officially released, making it only the second Grateful Dead tour, after Europe 1972, to have that honor.
Now shipping, you'll want to order your copy soon as these beautiful boxes are going, going, gone...
Listening Party: 3/29/90, Nassau Coliseum With Branford Marsalis, Set 2
Enjoy the 2nd set of 3/29/90!
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...just finished digesting 3/28. Great show,great first set(as usual). New Minglewood,Queen Jane,Loose Lucy are great and I'll tell you, thats one of the best versions of "Cassidy" I've ever heard! It really rocks! Its a great show until the encore when they absolutely butcher "Revolution". I love ya Jer but that was not a fine moment. Taking a little "Dead Break" with some Jimi Hendrix(Cry of Love) and some George Harrison(Living In The Material World) and also the hi-light CD of CSNY 74. After purchasing this set corners had to be cut somewhere. Then it will be off to 3/29!!...Take care folks!!!!
...that given the almost universal praise that this box has gotten, that the last 1500 sets haven't sold out. It seems that the "1500 left" banner was raised around the time when the first boxes were hitting the streets, er, mailboxes. Usually that moves the fence sitters off the fence and into the poor house, LOL.
I've finally completed my run through the new box. The sound is perfect. Definitely the best sounding GD release yet, although Go To Nassau and Nightfall of Diamonds also sound amazing and crystal-clear. The box is beautiful as well. Not as cool as a steamer trunk, but definitely well-done.
As for the performances, I think I've stated before that I prefer the shows on the first set to all except the 3/29/90 show. I have to revise my original statement slightly. The 4/1/90 show is a revelation. Although I've heard it before, I definitely had not heard it like this. To Lay Me Down and TMNS to end the first set is fantastic, and the entire 2nd set just smokes.
I don't think I can write anything new about 3/29. While the Jack Straw - Bertha opener is a bit lackluster for the time period, once Branford steps in, the band elevates its game to the highest level. Fantastic second set (although Branford seems to disappear on The Wheel).
As for the other shows, they're fine. I enjoyed 4/3 more than I thought I would, and the second set to 3/25 as well. Still would take the first box performance-wise, but with the improved SQ, you can't go wrong here either.
Next box? Dave has said several times that the tours he felt merited full release were Europe '72, Spring '90, May '77, and Fall '73. Unless the rest of those May '77 shows come home to the Vault, we're looking at a MASSIVE peak Dead set in 2015.
I dug out my collection of his CDs and am revisiting them. "Bloomington" and "random Abstract" are terrific.
I purchased a Road Trips 2.2, Carousel 2-14-68, and it had the bonus disc in with the other two discs, not in a separate jacket.
This is an incredible box set, "Eyes Of The World" sounds better than ever , Garcia plays as freely as ever. Marsalis seems at ease "playing in the band"
I wonder how much "pushback" he got from the jazz community as the bandleader for "The Tonight Show with Jay Leno"?
On these performances, Branford seems to me almost a little lost at times just keeping up with the band, trying to get a note in wherever he could that would fit. All good though! Wish I had been there.
That's a great point steve73, about the pushback Branford got from the jazz community about playing with the Dead. I knew a jazz musician years ago: he loved Branford but thought his playing with the Dead was a "sell out". I suppose he was also trying to "get my goat" a little bit.
I am listening to the whole (released) tour in order and am up to Copps 3-21. It seems the Audience presence is greater on this show more so than the ones leading up to it. Maybe it's just my imagination. The other things I'm hearing is more separation on TOO than the first box and a more prominent Phil on TOO as well. Still can't figure out exactly why they would not have taken the opportunity to mix the first box right when they had the tapes. Bobby is going with the effeminate squealing on Estimated, and it makes cameos elsewhere which may not be for everyone. I like how the Victim gets way out there in the first set and into Standing on the Moon is sweet. Crazy Fingers>Cumberland is just Great. Brent is the MVP for me so far (China Doll 3-19, high harmonies on Loose Lucy 3-14 and 3-21), but really the whole band is cranking on all cylinders.
Well as many folks have expressed, this box set is amazing. I got it on the 15th, and have only been through three shows so far. Quite possibly the BEST sounding live Grateful Dead recordings, ever.....and that says a lot. You actually feel like you're in the front row when you listen to them. I am totally enjoying these shows, and taking my time. :). Hope everyone is too. :)
Fall 77 came with bonus disc, I got in the spring of 2014. I got MSG 90 last week and sadly, no bonus. I have ordered a few others since the Spring time, just hoping it would have showed up with bonus. And the only one was Fall 77'. For some odd reason I have a gut feeling the Valentines 68' show is being sent out with Bonus as well. But I don't have any proof. I already own that 68' set but it looks like a lot of sealed RT from Fall 77 and Feb. 68 showed up on eBay around the same time with bonus included.
I don't want to hijack the thread, but I wanted to let you know that I ordered a few single discs from Dead.net last week after receiving the box set. I guess when it rains, it pours. Anyway, I ordered the Fall 1977 Road Trips and, lo and behold, it had the bonus disc in it. I had heard about that there were some bonus discs floating around on some of the old Road Trips. Well, the 77 bonus was in my set. I was kind of hoping for this to be honest with you. They must be at the bottom of the barrel, so I'm guessing the inventory is running low. I also ordered the MSG '90 set, sadly no bonus disc there. The bonus disc I really wanted was from that MSG set and From Egypt with Love. Anyway, just thought I'd let you know.
So far I've made it through the first 5 shows of this set beginning with Cap Center through the first Nassau show and am utterly blown away. Every show so far is a highlight unto themselves. Even without the Branford show and the two Omni stops, a run I attended, this would have been a satisfying box set. '87 - 'Summer '90 was truly a magical period for the Dead.
Seeing as how they recorded most if not all of the shows from Summer '89 through Spring '90, there is enough quality material on par with this box left to release another 4 or 5 box sets from this peak era.
So far I've resisted listening to the Branford show and the two Omni shows, both of which I attended in order to put myself into a more spiritual space. I was familiar with much of this tour with a few exceptions (Hartford and the first night in Nassau), and this listening experience reaffirms my view that this was a time when the Dead went beyond being mere musicians to superhero status.
What can I possibly say about Brent that already hasn't said? THIS is the tour that you play to turn people onto the Dead. A few bars of Loose Lucy from 3/14/90 should do the trick!
I have to thank everybody involved with the production of this set and congratulate for an exemplary job all around, but most of all, I have to thank everybody whose patience with my sometimes blunt commentary who showed such an amazing level of generosity when I hardly deserved it. Thank you!
I stopped attending Grateful Dead concerts in 1986 after some disappointing shows. My collection of Dead recordings focuses on the pre-Brent period, particularly '69 to '73. I bought the first 1990 box and enjoyed it, with its in-the-audience sound perspective, sometimes muddy vocals, and other audio problems, but I didn't love it.
When this batch came along, I could not resist buying the Branford show. HOLY MOLY!
Aside from Branford Marsalis's performance, the fantastic sound quality and terrific performances by the Dead, themselves, simply blew me away. Had to download the rest. I've been listening to it (still a long way to go) ever since. All the polish of '77 and then some, with most of the youthful energy of prior decades. The psychedelia of the early days comes through from time to time, as well. I'm having a hell of a good time with this. Thanks to all involved.
(Re: the great Branford debate: I've been a jazz fan for quite a while, and a fan of Branford Marsalis's ever since I saw him and his younger brother perform as members of Art Blakey's Jazz Messengers in about 1980. I think it's important to understand the pushback he was getting for performing with rock groups, particularly Sting, and for forming his own funk/jazz group in the '80s. Jazz purists just hate it when one of their own finds success as a crossover. Branford had to defend himself in every interview with the jazz press and assure them that he was not abandoning jazz. Typically, he would tell them politely that they had their heads up their butts, rock music is fun for him, and artists like the Grateful Dead were a little different from Madonna in terms of complexity and artistic merit. Let's not get carried away by a phrase or two that he's uttered over the years.)
I think the awesomeness of this box speaks for itself, but just scroll down through the posts here if you are not sure. There is not one show out of the eight which does not have someone here singing its praises. The box, the cases, the accoutrements, and the great set lists mixed to perfection make this one for the ages. When the first Spring '90 box came out, I stated that it would be THE box set that all others would be judged against. Well, I may have to correct myself as this one has probably outdone that one! I love both, but the sound on this one is just amazing. It is surely a great time to be a listener of the best band in the land.
As for Unique to the first box: Delete "Hey Jude" 4/1 TOO.
Got in touch with someone from Rhino via email, and the mystery was solved about the "Miracle" coin. Was told that the promotional copies of the box set that they gave away all had coins with "Miracle" on them and that I shouldn't have received it. Bummer - was hoping for that trip to the vault! Was told by Rhino that they would replace the set with a numbered one.
Listened to the copy of the Branford show today for the first time in the early hours of the morning while on the way to work - it really is worth the hype. Wow.
I believe the following quotes demonstrate that Branford immediately recognized the difference between the GD's 'sometimes tricky' songs & 'most popular songs.' Also that he understands that listening and playing within context is fundamental to the art of jamming and as such he joined the group onstage as a supportive listener, rather than a star soloist.
“When we did ‘Bird Song,’ the first thing I wanted to do was learn the form of the song. The Dead have some incredibly tricky tunes, but for the most part, popular songs are quite simple. People don’t want to go to music school when they’re listening to their music. Jamming doesn’t mean you can play whatever you want. You have a tremendous amount of leeway in context. If you understand the rules, then you have context. But it was a jam session. And I wasn’t going to step on the mainline. I was going to compliment what Jerry was doing. I would just respond to what I was hearing.”
“Every time I had played at a popular concert, I was in a horn section. There are specific spots where you play and specific spots where you don’t play. I’d never been in a situation where I was up there and they said ‘OK, let’s do this song.’ What I started to figure out was something I learned as a kid playing in New Orleans. One of the rules of playing in popular styles of music is that the singer is the most important person on stage – you can’t step on the singer. Then it was a matter of figuring out how I could function in a group context. One of the things I basically did was never play a note when [Jerry] sang the first chorus. I always waited to the second chorus. The world just doesn’t need that much sax playing in the middle of a song.”
Here are the 30 songs unique to the first box set:
Attics of My Life - 3/30
Beat It on Down the Line - 3/22
Believe It or Not - 3/22
Big Railroad Blues - 3/26
Black Throated Wind - 3/16, 3/26
Blow Away - 3/16, 3/26
Box of Rain - 3/19
Brokedown Palace - 3/19, 3/26
Brown Eyed Women - 3/19, 4/2
Built to Last - 3/26
China Doll - 3/19, 3/30
Death Don't Have No Mercy - 4/2
Dire Wolf - 3/30
Don't Ease Me In - 3/22, 3/30
Dupree's Diamond Blues - 3/26
Fire on the Mountain - 3/22
Franklin's Tower - 3/24, 3/30
Gimme Some Lovin' - 3/19, 3/26, 3/30
Help on the Way - 3/24, 3/30
Hey Jude - 3/22
It Must Have Been the Roses - 3/22
It's All Over Now - 3/19, 3/30
Just Like Tom Thumb's Blues - 3/30
The Last Time - 3/16, 3/22, 4/2
Let the Good Times Roll - 3/16, 3/24
Loser - 3/16, 3/24
Peggy-O - 3/16
Slipknot! - 3/24, 3/30
Terrapin Station - 3/30
West L.A. Fadeaway - 3/22
TOO has 13 more unique songs, at 43. Fence sitters have no choice now. Thanks!
Like Dantian said, if you're Hunter Seamons: Thank You!
I am listening to the Seamons matrix of 7/1/85 right now. Sounds FANTASTIC! The three tracks I picked from my former (audience) source of the show are about to be replaced by eight tracks from this matrix mix source.
Obtained through the wondrous graces of "Wolfclan77", perhaps someone who frequents this website's comment threads (Wolfclan77 has also posted 9/18/74 and e few others that have been mentioned recently here...hmmm...).
Big thanks to Hunter Seamons for all the matrix mixes you worked on and made available to the on-line World and to Wolfclan77 for recently posting so many Dead shows that I want to a website I can D/L them through.
I have a personal goal of upgrading my remaining LMA MP3-sourced shows to GDM releases or "Lossless Source" D/Ls. W77 has enabled me to do more upgrades in a couple of months than GDM has in 3 years!
Big thanks to Charlie Miller while I am at it!
It is harmonically simple. Isn't it? Yeah, it mostly is.
And Marsalis' point is that some jazz players are so full of themselves that they think that means they're above it. If anything, that reads as a dis to many jazz players.
Like some jazz players, it seems some rock fans apparently also think the observation that the music is harmonically simple is an insult. Marsalis is saying that's wrong.
This is really making something out of nothing.
If you're the matrix guy, I just want to say thanks for all the great work you do. I have many of your matrices and they're top notch. Thanks!
hseamons - that is just incredible, thanks for doing that. One of the things which finally conviinced me to shell out for this box was the unbellievable variety of setlitsts. Much as I love the May 77 box, it sure has more repetition. (Not to mention Europe 72 - Mr. Charlie anyone?)
Bolo, I don't disagree at all re: Branford. As I mentioned, he does say a lot of positive things too. But, I don't think Palmer was misconstruing anything either... I just felt like offering a little back-up there.
Branford also said this:
"Those guys can play music...they're American musical icons. They're fantastic! As a matter of fact, I just bought their records. I went out and copped 'em all."
None of these songs appear on the first box:
All Along the Watchtower - 3/18
Althea - 4/1
Big River - 3/14, 4/1
Black Peter - 3/14, 3/25
Candyman - 4/1
Cassidy - 3/28
Cold Rain and Snow - 3/14, 3/28
Crazy Fingers - 3/14, 3/21, 3/25, 4/3
Cumberland Blues - 3/21, 3/28
Dark Star - 3/29
Far From Me - 3/21
Friend of the Devil - 3/18
Greatest Story Ever Told - 3/25
Hey Pocky Way - 3/21, 3/28
High Time - 3/28
I Will Take You Home - 3/25, 4/3
Jack Straw - 3/29
Knockin' on Heaven's Door - 3/21, 3/29
Loose Lucy - 3/14, 3/21, 3/28
Mama Tried - 3/14
Me and My Uncle - 3/18, 4/1
Mexicali Blues - 3/18
The Music Never Stopped - 3/18, 4/1
Never Trust a Woman - 3/14, 3/25
Promised Land - 3/21, 3/29, 4/3
Quinn the Eskimo - 3/25
Ramble On Rose - 3/18, 3/29
Revolution - 3/28
Shakedown Street - 3/18, 4/3
Spoonful - 3/18, 3/25
Stagger Lee - 3/18
Stuck Inside of Mobile with the Memphis Blues Again - 3/14
Sugaree - 4/3
Throwing Stones - 3/21, 3/29, 4/3
To Lay Me Down - 4/1
Turn On Your Lovelight - 3/14, 3/21, 3/29
U.S. Blues - 3/18
Walkin' Blues - 4/1
Wang Dang Doodle - 3/25
We Bid You Goodnight - 4/3
Wharf Rat - 3/21, 3/28
The Wheel - 3/18, 3/29
When I Paint My Masterpiece - 3/18, 3/25, 3/29, 4/3
My apologies for any errors. I did this quickly. Very quickly while listening to 3/18.
Thanks for the back-up claney. So I'm not completely nuts. I think we all love Branford here, but he has a healthy ego and is outspoken. My guess is he's never heard the Dead's best music: i.e. FW 69, Europe 72, Watkins Glen....
I feel the need to back Palmer up on this one... I don't have the box set yet (just ordered it), so I'm not sure if you are debating something he wrote in that or in some other source. But I did just re-read the Rolling Stone interview with Branford, and yes he does say some complimentary things about the band, but he also says this:
"The one thing about the Dead was their level of intensity. Harmonically most of the music was simple - one, two chords. But the intensity was off the chain."
"The 7/4 time [in Estimated Prophet] was not a big deal to to a guy who plays jazz. Where jazz guys fuck up playing with pop and rock bands is they seem insulted by the simplicity."
"Harmonically it was simple enough that I could catch on quickly."
I'm not sure if Palmer was reading that or another article, but I really don't see how the above quotes can be construed any other way. One could argue Branford is saying that simplicity is a good thing, but you can't argue that he isn't saying the Dead's music was simple pop/rock music, because that is literally what he is saying.
.....What took me so long!! Wonderful, wonderful show. And as Baby Blue fades from my living room, I applaud....
Just started the last show, 4/3. Will comment more later, but sugaree just finished. Check out a couple minutes of the song starting 7.30. Just WHAT exactly was Phil doing? It was really good. It might not have been sugaree he was playing, but it was .. Something.
....was top notch. Loving every minute of it...nice how it just fell into Mr. Fantasy at the Omni....outstanding!!
Yup, that's a typo. It happens.
& Yer right about 12/18/73 second set (I mean, it NEEDS to be released!)
So far Hartford is in the lead…
Besides the strong Shakedown>Rooster opener there is a great Stagger Lee and a definitive IMO Masterpiece. The rest of the first set is great as previously stated.
Seconds set is not as great as the first but it really gels and overall- great playing and the uniqueness of both set lists combined make this a show to come back to.
From what I hear - I am very much looking forward to the rest: 4.1 and of course 3.29 with the new mix. I've got my eye on 3-25 because I think it may be a sleeper pick… we'll see.
...sitting here on Sat. night grooving to 3/25. Very good show! Masterpiece and Bird Song are great. The 2nd set seems laid back kind of bluesy. So far this show has my favorite "Space". I agree, 3/14 is a great show! Already one of my favorites. Take care folks!
3-14 Row Jimmy , the jam after Crazy Fingers into Playin > UJB , Black Peter
3-18 Shakedown opener. 1st set is probably my favorite of the 3. Friend of the Devil through the Music Never Stopped is very nice. TMNS has a great jam.
3-21-90 Half Step, Queen Jane, Victim or the Crime > Standing on the Moon. 2nd set is great and my stand out is Lovelight. Great version plus the small jam at the ends just rips. This set also has Crazy Fingers. I think this one is just a tad better than 3-14,. Even though I like the jam in 3-14 better. Estimated Prophet is very good and it goes into an excellent He's Gone.
...from 4/1 has a great intro, and an inspired outro. A pleasant surprise....
@PalmerEldritch - I dare say you've completely misconstrued Branford's statements. He never once says the Grateful Dead is simple pop music. It's fairly clear that was exactly what he was expecting as he had not heard them play before, but was instead absolutely delighted to find it to be anything but that. He's simply comparing what he thought it would be to what it actually turned out to be.
Finally gotten to the Atlanta shows also. Although they're all great, my favorites up to this point were the first one 3/14 (smokes) and 3//29, now I've gotta add 4/1 to that list. What a great show! And on top of sizzlingly great music, with inspired playing from everyone, the mix makes this show a complete Phil-Phest to boot. I remember really liking 4/2 from the first box a whole lot, so here's to hoping that 4/3 lives up to its predecessors. Highlights on 4/1 include what is now one of my favorite To Lay Me Down's, a Big River that cooks and simmers, a Music Never Stopped that you can't not dance to, fantastic jam from China to Rider ..... Oh never mind, the whole show is a highlight. I even found myself bopping and smiling to Just a Little Light. I don't think of Pig as primarily a keyboardist, so Brent is without question my favorite of the keyboardists, and there's no question that this box has some of the best examples of why he so loved by so many of us that started the trip as the 80's were inaugurated. He brought fantastic creativity and passion and fit into the groove like he was born for it. Do you remember what he could add to the orgasm at the end of a Dew?, a piece that already used to routinely reach bliss? Just listen to him on these shows. He's jaw dropping good. I love the wild energy of the 60's, the completely unrivaled creativity of the early 70's, the transcendent power of 77 and 78. But, I consider myself lucky that Brent got on board the same time as me.
I'd check for you but I didn't order this box. Hopefully someone who did will be kind enough to take 5 mins to get you some confirmation so you don't think you're going nuts!
Is by my favorite from the Space portions of the first 3 nights of the box. Great tease into I Need A Miracle.
Sure, the Dead could be called pop music. Why not? I think it's just a way to distinguish it from full-on jazz, blues, classical or other (lame) "categories". We need some kinds of quick words to describe music even if the labels are not nearly descriptive enough. I still don't see that as a put-down. It did sound like he was worried that kids might latch onto simpler music (than jazz or classical) and not study harder, but that's just his wish that music students would take it as seriously as he does, not a knock on the GD. Anyway, Branford Marsalis certainly does not need me to defend him. I'm just not interpreting anything he said as negative toward the Dead.
....is so good, that when it ended, I hit the repeat button. Wonderful song selection if you ask me. Brilliant playing by the entire band. They were ON.....
And the mix is off the charts....
I know this sounds funny. But I just want to clear this up.
I heard this in my car, so it's definitely not a ghost in my house. I even stopped my car, for a few listens.
And you are correct 12-18-73 is awesome. I read an article from Dick Latvala and he said he would release 10 shows in a row from Fall 73' if he was allowed.
I hate to tell you this...but the voice is actually saying, "Get out...leave now" and it means you have a ghost in the house.
DP1 was 12/19, though I wish it had been 12/18. To be fair, 12/19 does have one of the best HCS ever, for which I'm certainly grateful. But 12/18 has one of my favorite segments, i.e. the WRS>DS>Eyes>Wharf Rat>Sugar Mag. Hope it's released someday.
I was listening to this in my car this morning. And kept hearing some voice. For a split second around the 20 second point it Sounded like Siri from iPhone.
I started the track over 4 times, I heard it every time. It sounds like the voice is saying "take out" or eject now". ??
Can anybody else confirm ??
Side note: it is a very nice Estimated > He's Gone
Eh, maybe for the sake of argument/discussion. I still can't help but think Branford's remarks about this release were condescending towards the Dead. I gave this opinion earlier, then recanted, and now I am re-asserting it. Jeez, I just don't feel he has much respect for the Dead's musicianship. In the various interviews for this release, he refers several times to the dead as "pop music" and how easy it is to play "pop music". This is a put down. Branford is way too smart for it to be anything else. I take exception to this. I don't consider the Dead "pop music". Were the Fillmore West 69 shows, the Europe 72 Dark Stars and Other Ones, the Watkins Glen soundcheck all "pop music"? Even post-hiatus Dead- the PITB jams and "space"- these are all a far cry from "pop music", in my opinion. Probably Branford has never bothered to listen to any of that music. I think "pop music" in the last few decades means more like Madonna, Michael Jackson, Beyonce, etc. Yeah, Branford spoke warmly of the Dead: he was surprised at how much fun he had playing simple pop music! Hey, no big deal- I love Branford, but I think a lot of jazz musicians are condescending towards other music. In most cases, I don't blame them. I do admire Branford's honesty. He certainly speaks his mind. I remember him really trashing avant-garde jazz. I think it was in the Ken Burns Jazz documentary- he dismissed artists such as Cecil Taylor as "pretentious bullshit". Funny cuz Garcia idolized probably the greatest avant-garde jazz musician of all, Ornette Coleman. Honestly, I love Branford and think he is the greatest guest musician the Dead ever played with. But I can't resist a little jab- Branford could never fit in with pre-hiatus Dead. The dude plays waay, waay too many notes. Economy is essential in the best music. Even a 30-ish Branford couldn't play with pre-hiatus Dead. Post-hiatus, sure, beautiful! Hey, if Branford can dish it out he can take it.
mpace -- agreed.
as somebody who's done some academic writing, i get what Meriwether was trying to do. he's a historian, who was trying to tell a story of the tour through a particular filter of oral history. the oral history he chose was the stories being told in 1990 in the press and by city officials, which was the negative connotations (mistakenly) associated with the band. to the extent that he balanced that with sympathetic accounts, it was those that appeared quoted in the media, or came from enlightened journalists.
so, while it works from a pure oral history perspective, it fails as a complete history -- it purports to tell the story of the 1990 tour, but draws from a source that doesn't tell the whole story. he would've done far better to troll the postings on this thread after the set was announced to get better accounts from those that were there.
in other words, he should've left the ivory tower ...
Anyone hear Standing On The Moon on Sirius today around 2:45 PM PST?? Loved it. Anyone know what show it's from?? Again, it's a long shot. Thanks
I hate to be critical - hey some people may enjoy this essay that is in the book, but I found it disjointed and lacking clarity - what was the author trying to say?
At first it tells of the persecution of deadheads at every concert with notes concerning the overall atmosphere and in the end it tries to compare the whole dead movement from 1966 onward to a "seminal" study from the New Left (Democratic Society)… whaaa? That the deadhead movement is a minority meant to create a generational legend -
Before that he states that the scene had become a drag to the cities, band, and management- so what is it? Is the dead scene a democratic utopia as describe by the New Left (I just threw up in my mouth) or a drag?
Am I reading this wrong?
Why does the essay need to have a prophetic vibe especially at the end? Sorry this is a sore spot because not every deadhead can be classified as blue, red - conservative or liberal. To me its simply Americana at its truest.