Dave's Picks 2017 Subscription - No Longer Available
ANNOUNCING DAVE'S PICKS VOL. 22
From the famous run of shows in the lower level of Madison Square Garden, we bring you the 12/7/71 show from the Felt Forum in NYC. Featuring the return of Pigpen after a 3 month absence, the show features five Pigpen-sung songs, including what is arguably the best version of "Smokestack Lightning."
Tapes from this run of shows have circulated for decades, but never sounding like this. Every song from this show is played to perfection, presenting definitive live versions of every song played from this era. In addition, we have added the bulk of the second set from the previous night, including, but not limited to, a massive "Other One" jam, and exceptional renditions of "Wharf Rat" and "Uncle John's Band."
As a special treat for our Dave's Picks 2017 Subscribers, the 2017 Bonus Disc will feature the bulk of the rest of this 12/6/71 show, giving you two nearly-complete shows from one of the most requested and sought-after runs in Grateful Dead history.
As we head into 2017, we're starting our 6th year of the Dave's Picks series. And we can't thank you enough for continuing to support, and being interested in, our quarterly archival release series. When we started the series, with a long phone call in the summer of 2011 between myself and Doran and Mark at Rhino, we decided to retire the Road Trips series and start something new, something that was specifically crafted to meet the needs and interests that reflected your feedback over the previous four years. In late 2011, I mapped out the first five years, 20 Picks, of the series, but not beyond that. Although we veered off course quite a bit in those five years and 20 Picks, we did so mainly because of the flexibility we've allowed ourselves in letting the music play the series. What's right to release at any given time is what we focus on. As for the next five years, Picks #21-40? We don't know what's beyond #21 (which you might have heard is the exceptional 4/2/73 show at the Boston Garden, a truly perfectly-played example of the excellence that defined 1973 Grateful Dead concerts), but we have some great ideas brewing. The world of archival Grateful Dead music has some exciting times ahead, so stay tuned. We love working on this series, and we do it because of you. Your support and feedback and enthusiasm is what drives us to make each Pick as exciting as the last one. - David
Due to continued demand, we're keeping the 2017 Dave’s Picks production run at 16,500 of each of the four releases, but as with the 20 previous volumes, we expect all of the four Dave’s Picks in 2017 to sell out quickly; some of the past releases sold out in less than 24 hours! We say this every year, and we'll keep saying it because it is true - the only way to avoid disappointment and be guaranteed that you'll receive all four Dave's Picks in 2017 is to subscribe.
In addition to the four CD releases in 2017, totaling 12 CDs, you’ll also get the subscription-exclusive bonus disc, which has proven to be one of the most highly sought after collectibles we’ve ever released and free domestic shipping. Subscriber bonus discs will not be released outside of this offer.
DAVE’S PICKS 2017 SUBSCRIPTION BENEFITS
• Four Limited Edition, Numbered Releases
• Highly Collectible Bonus Disc
• Free Domestic Shipping
• Delivered Throughout The Year
• A savings of $29.96 over purchasing a la carte
Give it as a gift
Download a Dave's Picks 2017 Gift Certificate. Right-click-save-as on a PC, or ctrl-click-save-as on a MAC. You can then print it out on an 8x11 1/2 piece of paper or email to the lucky recipient.
If you are tired of marketing services that don't produce results, my targeted marketing is a breath of fresh air for you! 100% Satisfaction Guarantee on all orders, so it's always a win-win for the buyer! I'm proud that I offer only top high quality and high authority backlinks at a reasonable price. . I have helped many clients rank on the first page of Google using only safe methods. I can help you get the best results in the search engines and
quickly increase your Websites traffic
let me tell you a story...
My father was born and raised in the Bronx in the mid 20's. One day when my father was a young boy, his father told him they were going to Yankee stadium to picket.
Why? my father asked. Well, who's your favorite player, my grandfather said. Satchel Paige, my father answered. Well, we're going to Yankee stadium to demand that Satchel Paige be allowed to play in the major leagues.
And off they went, picketing Yankee stadium, and they were spit on and called "N-lovers." The rest is history, though you probably never heard about it, especially in the MSM.
That's my family's legacy. It was not popular at the time. Keep it in mind...
Just when I think I'm out, they drag me back in...
Your "epiphany" is admirable, but for all your "independent" bluster, you are still firmly entrenched far to one side. Let's at least be honest about that. If it ain't popular, Kate, you ain't down with that, and that's the damned truth. It's just too damned hard, otherwise, isn't it.
Believe me I know. After all, I'm the hated one, aren't I :)
So let's review...
Two polar opposite groups of extemists converge. One side includes (probably to their chagrin) a contingent of neonaz1s (fking POS whom I wouldn't piss on if they were on fire), and the other side a group (antifa) that has a history of using violence to prevent any contrary viewpoint from being heard (oh yeah, we aint talking "Naz1" viewpoints now, we're talking anything they don't agree with).
This is the very definition of a "slippery slope" here, Kate. If even repugnant speech is not protected under the First Amendment, then no speech is, and that is why the ACLU has always come to the defense in cases like this in the past, especially when they don't agree with the speech they are defending. It's a matter of principle.
But now we have mobs pulling down statues...where does it end? Most of the signatories to our Constitution were slave owners at one time, so do we all rush the National Archives as a mob and rip the Constitution to shreds as well?
Perhaps the great pyramid in Egypt should likewise be destroyed because the Hebrews were enslaved there thousands of years ago. Where does the madness end?
I know the Taliban blew up some ancient Buddha statues in Afghanistan as well. Is that what we have come to now?
What's next, burning books we disagree with?
Chunneled up to Liverpool Friday, stayed w/ friends in Warrington, had my moist and free flowing guts eviscerated by Giroud, though he was merely the proverbial "straw". I care not: Vardy is back! Mahrez stalks the wing! Saturday I had tix courtesy the firm at Goodison, saw my hero Rooney trump (oi vey) the historical glory of MacArthur's return to the Philippines by netting the winner against Stoke.
Post Subtitle: The "many sides" of defective leadership.
I watch the brute stupidity of Southern White fear and ignorance in Charlottesville on the news. In the 50s and 60s, the predecessors of these thugs terrorized, brutalized, and murdered Civil Rights activists. Imagine: walking the streets of contemporary America with AR-15s to express support for Confederate military leaders.
Increasingly I realize that I am not the "liberal" or "progressive" that today's corrupt right wing would label me: I am an independent conservative constitutionalist, because no reasonable reading of that document would yield support for racial or gender bias, corporate lobbying dominion, career politicians, anti-gay militarism, or the ascendancy of a Christian hegemony in the public sector./K
I needn't specify by whom GVF is influenced, it's immediately apparent; in fact, by just audio alone you might suspect listening to a lost tape of outtakes from IV or Houses of the Holy...
This is the sort of find I wake up each morning hoping to make, yet don't on 350-odd days out of 365 in a given year. EP ordered.
Edit: GVF has been around - in some form - since 2012, so, per usual, my discovery lag is considerable: you can blame the '60s and '70s for that...
Edit II: Premier League kicks off Friday, WOOT!
TTB @ Red Rocks 7/30/17. Susan sings and shreds on I pitty the fool, courtesy Sr. Bobby "Blue" Bland. When I was digging into some blues a couple, few years ago, I amassed a good number, but one that resonated and has seen repeated listening is Mississippi John Hurt's Avalon Blues. Acoustic, sweet, but well, well wicked. And do connect with Elizabeth Cotton - Oh, Babe, It Ain't No Lie. What a great guitarist, too! I dig Albert Collins, Otis Rush, Lonnie Brooks, Son Seals, Roy Buchanon - name dropping, am I? But two blues I never miss in the annual rotation are BB's Live at the Regal & Cook County Jail. Just thinking about them gives me goose buzzes.
Yes, the Mayor of MacDougal Street was a big influence on Bob Dylan, Joni Mitchell, and Leonard Cohen, two of which I consider essential parts of my collection, and the third an important historical part, and I do appreciate some of her work, especially as a guest appearance on The Last Waltz.
He also mentored Terre and Suzzy Roche, one of which worked at my grandparents' restaurant in Greenwich Village (a few blocks from MacDougal Street) before she gained recognition, and wrote a song about it on their debut 1979 album produced by Robert Fripp. I've cleaned the same tables and I've done the creams, too, the very same ones, and I vaguely remember Annie (I was young at the time) ;)
My grandfather (step-grandfather, really) was an ahole (RIP), but anyway for me so many things come back to me when I listen to this music...circles within circles for me, connections within connections, not everything is arbitrary or just symbolic to all people, sometimes things are actually real to some, maybe that's why I'm half crazy.
Can't wait until it's "Quitting Time," though, so I can retire peacefully with my memories which no one will understand by then...but how did they know how it would be when they wrote it though? That's the true measure of artistry to me...the timelessness. And oh, the harmonies, without equal.
Best wishes, Kate and All, from a drunken Dantian...
shake it down, shake it down, shake it down now....
what an amazing box set....
D - That's a remarkably generous offer, but as a woman of means it would be unconscionable to accept; the magnanimity of your shared time and experience is sufficient: I promise to explore your recommendations. As I recall from Chronicles Vol.1, Dylan virtually worshipped at the feet of Van Ronk upon his initial arrival in NYC.
Rg - after the 'Cash does Beck' and Blues box referrals, I'd better be on your Christmas card A-list. A cash insert is always suitable. Unlike with Dantian, I have no problem shaking you down!
Onward: The philanthropical nature of Fat Possum Records' outreach to identify and record obscure Blues artists, especially the elderly before they pass, could almost warrant 501(c)3 recognition. Certainly FP can't expect much profit on releases for artists like Charles Caldwell and Asie Payton, so there's an element of genuine commitment to preserving that tradition of raw, uncut Delta Blues.
Asie is my latest discovery, and I literally mist when I consider his self-defeating modesty juxtaposed with such remarkable talent. The following is from FP's AP page:
"Asie Payton died of a heart attack on May 19, 1997, in Holly Ridge, Mississippi. It occurred in the early afternoon, while he was driving a tractor in the same fields he’d worked most of his sixty years. For all of 1995 and most 1996, Fat Possum tried unsuccessfully to convince Asie that the world outside Mississippi needed to hear him. But despite living below the poverty level and desperately needing the easy money of a gig, he could not be lured away from Washington County for more than a couple of hours.
Fat Possum succeeded in recording Asie twice: once at Junior Kimbrough’s club, and once at Jimmy’s Auto Care, Fat Possum’s old studio. Obviously, all the songs on Worried were recorded during these two sessions, and originally intended to be demo tapes. At the time, all we knew about Asie was that he lived in a shotgun shack — no phone, no a/c; and that whenever the fields were dry enough for tractor tires, he was working in them. When they were too wet, Asie was impossible to find. He lived in Holly Ridge almost all of his life and, like his father before him, spent Saturday nights playing in one of the two small grocery stores that qualify Holly Ridge for a name on the map– a place, instead of just a county-road intersection."
Me again: So born in '37, he was, like the truly dirt poor, about 60-going-on-90 when found by Fat Possum, but still sounded vitally alive and aggressive behind a mic. At times, Asie doesn't so much play guitar in the traditional sense as he stabs and shreds the music like a serrated blade that's crackling blue-hot with electric current. Oh yeah, that's Sam Carr - who also appears on Junior's albums - beating the drums with deep fried barbarity.
This just swings...
EDIT: RG, we've gotta talk some more about those hundred and thirty songs...let me know what you're thinking!
and another username bites the dust...
But I'll get it right someday, get back on my feet again and live the life that I should ;)
Took plunge on Acoustic Blues Box set....thanks for the recommendation....
the music is "wicked awesome"....
That's an impressive collection, especially for the price, and I won't even pretend that I'm familiar with the half of it...
But I just gotta say, not everything good is old, and not everything old is good, and please, at the very least pick up those Dave Van Ronk and Elizabeth Cotten CDs I mentioned...you won't be sorry, I promise.
Funny thing...way back when I was a young lad and just initially discovering the Grateful Dead, I took a trip to my local library on 23rd St and 7th Ave, the Muhlenberg Branch, and after perusing their LP collection at the time, I borrowed just 2 albums based only upon my intuition, which proved to be prescient...one was the Dave Van Ronk album previously mentioned, and the other was David Grisman's "Dawg Jazz/Dawg Grass" which has been out of print for many years...
Unbeknownst to me at the time, were the very real connections to what I was simultaneously discovering with the GOGD....but life is funny like that. I didn't make those connections for a couple of years after. Maybe those connections are too personal to mean anything to other folks even now, I don't know. But I do feel strongly about them, and imagine that they will open gates for others like they did for me.
So anyway, being the outcast, drunken Dead Head that I currently am, and in the spirit of reconciliation and remembering those relevant things, I feel compelled to implore you to acquire:
1. Dave Van Ronk's "Sings Ballads, Blues, And A Spiritual"
2. Elizabeth Cotten's "Shake Sugaree"
And in Addition (and not previously mentioned)...
3. Taj Mahal's "Giant Step/De Ole Folks at Home"
4. Ry Cooder's "Boomer's Story"
Not all Blues, but all truly connected to the trip we're on.
so, if you have the faith and can summon the trust, Kate, send me a PM, and I will gladly gift them all to you...from Amazon to your door.
Along the lines of your ECotton and BLJ reccos, I was able to put a long-forgotten iTunes gift card to educational use recently with the following acquisition
The range of early work is staggering, from camp hollers - that enforce the argument of Blues as a vocal phenomenon with evolving musical accompaniment - to the tight dynamic play of Lead Belly, which almost makes you forget it's an acoustic format. The line-up is impressive; in addition to LBelly it includes Robert Johnson; Mississippi John Hurt; Son House; Blind LemonJ; Ma Rainey; Charlie Patton; and Big Bill Broonzy, among a dozen others.
This appears to be an exclusively digital release, which makes it a rare acquisition given my preference for physical media. Yet, with 6.75 hours of music for $12, I was unable to find another early compilation of such amazing breadth, quality, and value.
During the last 3-4 outings trail running, I've completed a first listen on the ipod and the collective has taken me to a high vantage with an epiphanous vista of rocknroll's evolution. Remarkable. This weekends' back-to-back long runs should easily see me through a second pass of this 130 song box, which I'd highly recommend to anyone with even an inkling of interest. At the price, there's little to lose.
I surely appreciate your spirit of understanding...I am amused however, that you see me more as a Hank Hill, when I'm much closer to a Cleveland Brown character, but whatever ;)
I'll assume that the paved road analogy refers to my own misguided, good intentions, but I'd submit for your consideration that the opposite is actually true, and that the EU's good intentions are what's ultimately leading to that unintended end...
In any case, as to your main question...I am no expert, but having been around the block a few times, might I recommend:
Buddy Guy and Junior Wells:
"Drinkin' TNT 'N' Smokin' Dynamite," and
Buddy Guy and Junior Wells "Play The Blues"
but really, anything from these guys will be a hit.
Next, I would suggest any one of the Three Kings, but the one I like most, personally, is Freddie King: "Woman Across The River"
Delving into the roots, I would say that Dave Van Ronk's "Sings Ballads, Blues, and a Spiritual" is a must, and his rendition of "Betty And Dupree" will give you a much better understanding of where the GOGD's "Dupree's Diamond Blues" came from.
Along those same lines, might as well check out Elizabeth Cotten's "Shake Sugaree" which is the only other "Sugaree" beside our beloved Grateful Dead's version.
You might want to also check out Blind Lemon Jefferson, if you're really thirsty for source Blues knowledge.
And then, just for fun, please give a listen to James Brown's "Messing With The Blues" which I do greatly enjoy from time to time.
Best wishes to you, Kate.
Dantian "The Most Hated."
Money was left on the table today, but it was a smart investment. At this point, the opportunity cost of lost sales on almost any given show is dwarfed by the stream of income promised through a sustainable subscription model. I say "almost any given show" because rare legends like 5/8 and 7/8 promise sufficient reward to warrant unique treatment (kind of like the Jordan Rules of Rhino/GDP), for which they've struck an effective solution in the joint box set w/ alternative single release.
Still, given hundreds upon hundreds of shows no doubt remaining in the vault, I don't think there are a great many of these consensus strong performances of which you can expect solo release in a limited edition format; #23 diminished the life of the subscription series by exactly one edition off the back end, as opposed to a number of recent picks that, while from great tours or stands, were just a ring or 2 outside the bullseye, but filled a slot to keep things rolling without too much dissent. I'd anticipate that most of my remaining shortlist favourites will be released in conjunction with boxes. Maintaining that ratio between good and great shows in order to inspire subscription sales will grow trickier, but today's feeding frenzy was as good an argument as any for handing over $99 each December./K
Just received notification that Dave's Picks vol 23 has shipped to the UK.
Don't know what it is exactly yet, but assume that the announcement will come today or tomorrow.
D: Your concern is noted and on some level I'm surely appreciative for you vigilance. Though I've never tackled a road, I have paved a few side streets with good intentions; ultimately they never went anywhere, but I recall a sense of self-satisfaction at the time. Anyway, like Hank Hill, you'd probably be a pretty good neighbour, which, as I get a bit older, seems as good a litmus test as any to judge someone.
The post title refers to the fact that over the last 5+ years, across a few of the usual suspect-Dead sites, I've seen little - if any - chatter about the Blues. A lot of talk about Jazz and Classical, but few Blues. It's said you don't miss what you don't know, so this omission was entirely unremarkable to me until about 6-8 weeks ago when I stumbled across Junior Kimbrough, who entranced me with a languid, ethereal slide sound that warped over the sharp edges of my world like vinyl melting in the Delta Summer sun.
I've found that precision and technical merit aren't prerequisites to my taste in this area and in short order I've collected Kimbrough and Hound Dog Taylor's complete catalogues, in addition to some T-Model Ford, RL Burnside, and Asie Payton, as well as Charles Caldwell's sole release (talk about an American Tragedy). It's really late here (early, actually) so I'm off to bed, but you see where I'm headed and I'd love to hear input, guidance, recommendations, et al from the community. Thanks and see you soon!/K
you should be alright. Just as long as you don't find yourself in Cologne on New Year's Eve, or at any recent music festival in Sweden. Got to be careful though nowadays, don't we ;)
You should probably make sure you're properly covered up and don't reveal too much, lest you make yourself a target in certain areas... And know, the police in those areas can't, and won't, help you. Heck, they can't even find a contractor willing to build a police station in Rinkeby, Sweden, since it is too dangerous to do so.
Oh, but there is no such thing as "no-go" zones...they are just a figment of "right-wing" folks' imagination (imagine my surprise, finding out that as a Native NYer and life-long Democrat, that I am now "right-wing" because of my classical Liberal beliefs in individual rights, the rule of law, and limited government), and for taking an unpopular stand against those who would usurp those rights.
But anyway, I suppose you can still avoid those "problem" areas for now, and pretend nothing is going on and that they don't even exist, but those areas do have a way of spreading, ya know. And the more we ignore them and make pitiful, politically expedient excuses for them, the more we lose our freedoms...
But, I'm the "bad guy" for being alarmed at the dangerous erosion of freedom, individual, and women's rights in Europe, and you are the "enlightened" one for implying that my concerns are silly, and/or even "bigoted." After all, you are backed up by the prevailing group think, so how can you be wrong, eh? ;)
Honestly, I hope you turn out to be right, and I will gladly be the silly one. Sadly though, I really don't think so, and you will have to learn the hard way...
There was once a poster that was Randall Lard. You could only whisper his name. Anything more than a whisper and he would vanish; he was so fragile. And I fear that he will not survive Electronica's coming winter.
P.S.: Alstublieft, nice to see you making rounds!
Thanks for sharing that, Kate. Great footage.
I find Ned quintessential to the resurgent "weirdness" that helped elevate that Summer 74 tour to epic status in my esteem, particularly June, and no show more than 6/23, which put "strange" into the "long trip". I've been following Ned's site since discovery of his fantastic recent release "Cat Dreams", which contains some terrific stuff, beginning with the linked video above, about which he says:
"More than a few years ago I received a DVD in the mail from Steve Brown. I was quite surprised that it contained Steve's Super 8mm movies he made during the 1974 Grateful Dead tour of Europe. He only asked that I not copy or share it publicly. However, recently he gave me permission for it to be viewed on Nedbase (and on the archived Nedbase on spiritcats.com.) but not for wider distribution. Steve retains copyright and ownership. With the exception of "The Grateful Dead Movie," and a video snippet from the September 21, 1974 Paris concert, there are no other movies or videos in which I appear from those years.
I met Steve when he went to work for the newly formed Grateful Dead Records and Round Records in 1973. Steve had several roles including album recording sessions, production and promotion, live concert on-site promotion, and working on the "Mars Hotel" LP and "The Grateful Dead Movie." I remember Steve as a very nice, sincere, knowledgeable person who really cared about the band and the music, and truly helped make good things happen.
Steve's Super 8mm movies cover the 1974 Grateful Dead European tour. London's city life of the times and the Alexander Palace set up of the Wall of Sound (2:02), Munich and the Olympic Halle (4:26), band (5:37, me at 6:00 reading the Sunday Times) and family members getting on the bus and the bus ride from Munich through Luxembourg to Zurich, hanging out on the street in Geneva with Jerry, Parish, Hunter, Keith, Donna, baby Zion, Bob Matthews, and others, and then Phil, Steve, Dan Healy, and me on our drive through the high Alps and villages of Switzerland (7:25), into rural France (with castles) and on to Dijon (14:58) ending in Paris. Two additional notes come from Steve:
*It was silent 8mm so I added a soundtrack from that Summer's U.S. tour -- Roanoke, VA 7-27-74.
**Most of it was filmed while in an altered state, thank you Bear.
So wonderful we all traveled together and that Steve was wise enough to capture the adventure, and the spirit of the times, on film."
Additionally, there are a couple recordings, the first, and truly 'beyond the pale', a soundcheck for one of my A-list shows, Dijon:
The second is just a fantastic historical nugget: " This was a jam session ("The Other One Jam" > "The Wall Song", "Jam", "Blooz", and "R&R Jam") with members of the Grateful Dead, Jefferson Airplane, David Crosby, and others. Ned plays organ and piano."
I can't be the only one thinking about this as I would think it should be coming soon but, where is the announcement on #23? Are we all just riding the GSTL wave and forgetting we're due for #23? I have a sub for Dave's Picks and I'm anxiously awaiting my next Dead fix, I got the LE GSTL box, bout worn out the Buffalo show, now I'm Jonesing! Can you help me out Dave?
3/21/70 "The Seven" is an example of totally focussed intensity, coming out of Viola Lee Blues, ending up with Cumberland Blues, and this was the early show (opened with Walkin' the Dog). There is a fine recording of that show, first & second electric, second acoustic, third electric. The entire of 3/21 is worth multiple listening. Muscular, directed playing. The second electric set, Dancing in the Street - Easy Wind, incredible! Perfect synchronicity between Hart & Kreutzman (and the rest of the band ...). The third electric set St. Stephen, Lesh blows the roof off the theater (metaphorically speaking).
Each of the Port Chester 1970 GD concerts were one of a kind.
Posted by esteemed Head "mjzee" on Organissimo.org:
"So I've owned a Dead bootleg for more than 40 years, simply titled GD-2233:
On it, there's an amazing performance listed as "Doin' That Rag / Jam" recorded "November 1970, Action House, L.I." But the Dead didn't play DTR after 1969, and they didn't play the Action House in November 1970. After searching a long time for more details, I found it today on archive.org. It was a performance at Cafe au Go-Go in Greenwich Village on 9/29/69. The amazing jam is a composition titled The Seven, which they played only 4 times in its existence. See: https://archive.org/details/gd69-09-29.aud.early.hollister.79.sbeok.shnf... I recommend the VBR M3U for a seamless listen." (End)
This is a jaw dropping sequence of nuclear force from Rag through GL2, with The Seven jam as an exotic centerpiece. An instant short-list favourite Drums - lean, muscular, unrelenting, without an ounce of fat. I knew nothing about the The7, which - according to Deadbase - was played only 4 times (10/8,9/68, 9/29/69, and 3/21/70).
Additionally, the LIA Encyclopaedia has uncustomarily little to say about it: "The Seven is another riff from the experimental days of '68, and there are very few tapes. The earliest Seven riff is played briefly by Garcia at one point in the long 5/21/68 Carousel jam. There are a couple Sevens in the Hartbeats Matrix shows on 10/8/68 and 10/10/68, and there's a short one coming out of the Viola Lee on 3/21/70 (they had sometimes teased it in '69 Viola Lees) - but the best is on the AUD recording of 9/29/69, it's very tight!" [ Grateful Dead Guide: The Dead's Early Thematic Jams ]
While St.S isn't anything spectacular, the transition to The Eleven and the rendition that follows are sublime. Call this the Craps Set: Lucky numbers Seven and Eleven! Finishing up The11 for the second run-through as I type and I'm just floored by this stuff, while also realizing that relatively poor sound quality becomes quickly irrelevant once you're into the music's rosy bloom. The abrupt cut of The11 is rude awakening to a lovely dream....
Edit: As the 10/68 shows are Mickey/Heartbeats, the linked version on the Ark.org is the Dead's first performance of The7 w/ a full complement.
How'd we miss each other? I've been 3 years running, the last 2 VIP, which, I've found, is the only way to travel if you can swing it. I'm scheduled to be here in Dantian's 9th plane of Muslim infested Euro Hell through late Sept., so Lockn'17 is a no-go (loving it by the way...I'm plotting a trip circa Labour Day to Florence with Hartt's "Hx of Italian Renaissance Art" as my guide).
I'm off the autopurchase bus with the expiration of DaP 2017, #20 was a rude wakeup that I certainly don't require everything GDP sees fit to release. So, I'm hoping for maximum value from my last 2 obligatory (read: prepaid) shows; top of the list is my all-time favourite performance, 6/23/74 (the "Bermuda Triangle" show), then I'd love something from a strong, underrated, and terribly underrepresented tour, such as Summer 1991 (see D/L series vol.11 - magnificent!), with 6/17 being preferable. Though hyperbolic (has any Dead show anywhere, anytime, anyplace ever been endorsed w/out gilding the lilly?), I love Sanderson's rave-up in the TC: "...this evening's performance is arguably one of the finest moments in the band's thirty years of playing. I would not hesitate to say that this is in the top thirty or forty shows of the band's entire career."/peace,K
Are you going to Lockn this year? I've gone the past 4 years and I'm looking forward to this year. Maybe can see you there.
Hopefully the peeps don't hit a moose
...right off yer Honda. What you can't see in this picture is the 5-year old child lashed to the starboard side just above the ladder.
Most states have a "Joad" exclusion to highway safety laws that allows for an unlimited vertical cargo profile as long as you're fleeing drought conditions. Unfortunately for these migrants, New Hampshire has received quite a bit of rain lately.
This likely reaffirms at least 2 or 3 common Deadhead stereotypes...
Non Sequitur: One of the beauties of Europe is proximity...I was able to attend Sat/Sun at Glastonbury last wkend; one might consider it a small nation-state like Vatican City...and to think I was overwhelmed by Lockn last yr!
Very cool.. thanks Kate.
I am beginning to think of you as a friendly ghost that only appears in the past tense.. on pages here most have long since forgotten or considered dead.
Its a nice retreat from the trolling and bickering on the present tense threads here.
Cumberland MD.. an interesting place with a varied history. I'd say 1920 might just have been its peak. The C&O Canal ends there and closed in 1924. It was a mecca in the coal era, but the decline of coal and the rise of oil eroded its stature. By 1930, diesels started doing the work of the steam engine and coal became less a thing. So began the financial decline of one of Appalachia's many iconic cities.
National Highway (Route 40) runs through the heart of the city and was once one of the premier East/West highways connecting East and West (especially Baltimore and DC with the West). Interstate 70 replaced it and runs North of Cumberland in PA, this section was completed in the 1960's and was likely the final nail in the fiscal coffin for Cumberland. Still, its a cool place with an interesting history, some cool architecture and surrounded by beautiful mountains.
Its interesting to note that Cumberland Blues may or may not be about Cumberland MD. Hunter weaves a vagueness into his lyrics. My guess is its about Cumberland County KY, your neck of the woods.. but who knows for sure...
Lotta poor man got those Cumberland Blues. He can't win for losing...
There's a few really good Cumberland Blues played in Cumberland. I really like this one.
Viola Lee Blues>
Viola Lee Blues
Cold Rain and Snow
...GoGD & "musical comedy" in the same sentence...
"a semi-fantastical and immersive Americana tale of the Jones family in 1920s Cumberland, Maryland as they con, swindle and gamble their way into riches."
(the "Jones gang", eh?)
and post-November 1st, 1979.
also looking for a most delictable "Terrapin Station" from 1979 , quite a few
these shows rock and have what I am looking for
7.1.79 ~ "Terrapin Station" !!!!! F%CK YESSS , CHECK OUT THE SWEET AUDIENCE RECORDING OR SOUNDBOARD
11.24.79 ~ "Terrapin Station"
Also a box set of , not one , and not two , but three "Terrapin Station"
~ WINTERLAND MARCH 1977 ~ toss in both ST. STEPHEN sequences and I am all in.
ALSO LOOKING FOR A FEW OTHERS FROM 1977, some for full shows , some for primal activity, and some for other reason.
10.12.77 ~ MANOR DOWNS 1977 ~
10.29.77 ~ DeKalb ~
~ September and October Seattle / Portland ~ Northwest Fall 1977 ~
Maybe we should have two subscriptions, one for music released from 1965 to 1975 and another for subscribers who want releases from 1976 through 1995. The cost can be different if needed but it would help narrow down the releases I'm looking for. I first saw the Dead in March of 67' at the Avalon and early Dead shows are what mostly gets me excited. Thanks
This funk chatter has a suggestively pornographic air about it, and that "uncut" business sounds positively unhygienic. Well, it's bedtime here in the rolling pastoral Heaven of southern Limburg, so I'll bid you boys g'nite.
#23: Might I suggest the vast expanse of commercially unplumbed pre-October '79?*
*Though there was the 2014 May Hampton RSD exclusive, but I suspect most - like me - don't own it.
We want the funk
Give up the funk
Still haunting empty rooms I see.
Make my funk the P-Funk I wants my funk uncut.
I've a dawning suspicion that late 70's Dead - the epicenter being '77 through the '80 GTH LP fallout - was less the product of a disco influence than funk. Until recently, I'd completely neglected the latter genre, but exploring Parliament/Funkadelic, Ohio Players, Curtis Mayfield, LTD, and Graham Central Stn. I've come wonder if the largely derogatory "disco" designation isn't too simple a label, perhaps contemptuously affixed by the Old Guard as the times - and scene - began to change to their dislike. I'm now suspicious of - but rarely surprised by - those who parrot this rhetoric.
The open spigot of commercial releases (and the Archive) has prompted dramatic revisions - or wholesale destruction - of many community myths, mischaracterizations, or misunderstandings that I heard as an initiate, and which were easier to perpetuate when only a small segment had broad access to the music. Anyway, that smudgy genre of 70's R&B-Funk encompasses some fantastic stuff.
How about 10/12/84?
If we are talking about 80s, this one should make the mark. It's the show I regret not making it to. Silly me, best of the tour, if not the year.
So of all possible NY scenes, our artist puts our Stealie lapel man clearly entering the Felt show of 12/7/71 alone. By Boston 4/2/73 our man has a girlfriend he met in NY. By DaP 23, an 80's show??? they have kids? a 90's show and they all go to a show??
I officially have too much time on my hands
12.9.81 was a very nice release
just so happens today is the anniversary of a couple top notch 1980s performances
5.12.80 ~ Boston Garden
5.12.81 ~ New Haven
Quit snoozing on the 80s
here is a few that have a special meaning to me
I was prompted to this show by discussion on SHF of unreleased Spring 77 dates. So, how is it humanly possible that I've never heard any or all of this performance? MNS and Deal are 2 of my '77 bellwether 'short' songs, so that's where I jumped first, and though somewhat languid in pacing, they're typically terrific for the season. Regarding MNS, Jerry's solo beginning 2:47 shifts into high gear from 5:50 - 6:43, and it was around 4:50 that I became conscious of the wonderfully balanced mix (Miller SBD, below): Keith burbling along with Garcia in my left headphone, Bob tripping rhythmic in my right, with Phil and Drums ubiquitous across both. There seems to be a low level of static, though it may be unique to my playback. I'll hit this show at least a couple times in the next few days - thanks for the heads up Mike & CR!
I'm otherwise unable to cite a GOAT version of any Dead song - they're like shifting sands in the tide - but, for me, 6/7 just a few weeks hence provides the apotheotic incarnation of MNS: Bob & Donna in perfect form hitting all vocal cues and Jerry's loquacious articulation in that balletic solo.
For a 3.5 minute jolt of adrenaline, just forward to 3:10; toward closing, from 6:10 - 6:23, terminal velocity carries Jerry headlong into interlude of frenetic strumming suggestive of his early training with the banjo./K
This show MUST be released as a Dave's Picks!!!!
I've loved the past 22 picks, thank you. I think there has been a lack of attention given to the great shows of the 80s. Yes, the GD peaked and were at their pure excellence in the 70s, but the more songs were written after that period which I would love to have in the Daves Picks series. I'll also email you but wanted to note this here and also see what kind of ffeedback we got from this thread.
Thank you for all the work you do and have done throughout the years. This world wouldn't be the same without you. You are an amazing human being. Live, laugh, and love. Thank you brother!