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"When we began discussing audio projects to commemorate the 50th anniversary of the Grateful Dead back in 2012, we knew we wanted to do something completely unprecedented. We could think of nothing more exciting or ambitious than a career-spanning overview of the band's live legacy focused on what best tells the story: complete concerts. Our first criterion was the very best live music to represent any given year in the band’s history. We wanted to make sure that there were not only the tent-pole shows that fans have been demanding for decades but also ones that are slightly more under the radar, but equally excellent. For those who listen to the entire box straight through, chronologically, the narrative of the Grateful Dead's live legacy will be seen as second to none in the pantheon of music history." - David Lemieux
We are more than pleased to announce the Grateful Dead's most ambitious release ever: 30 TRIPS AROUND THE SUN. Available as both an 80-disc boxed set and a custom lightning-bolt USB drive, the collection includes 30 unreleased live shows, one for each year the band was together from 1966 to 1995, along with one track from their earliest recording sessions in 1965. Packed with over 73 hours of music, both the boxed set and the USB drive will be individually numbered limited editions.
The 80-disc boxed set is individually numbered and limited to 6,500 copies, a nod to the band’s formation in 1965. Along with the CDs, it also includes a gold-colored 7-inch vinyl single which bookends the band’s career. The A-side is “Caution (Do Not Stop On Tracks)” from the band’s earliest recording session in 1965 with the B-side of the last song the band ever performed together live, “Box Of Rain” recorded during their final encore at Soldier Field in Chicago on July 9, 1995.
The box also comes with a 288-page book that features an extensive, career-spanning essay written by Nick Meriwether, who oversees the Dead archives at the University of California, Santa Cruz, along with special remembrances of the band submitted by fans. Also included is a scroll that offers a visual representation of how the band’s live repertoire has evolved through the years.
The USB drive version* will be shaped like a gold lightning bolt with the Grateful Dead 50th anniversary logo engraved on the side. The drive includes all of the music from the collection in both FLAC (96/24) and MP3 formats and is an individually numbered limited edition of 1,000 copies. Digital version of the book also included on USB.
Shows will NOT be sold individually on CD. This release is sure to sell out quickly so pre-order your copy today and stick around as we will be revealing a mighty fine selection of music, art, and much, much more right here.
(Looking for a smaller 50th Anniversary commemorative keepsake? September 18th will see the release of a four-CD version of the collection titled 30 TRIPS AROUND THE SUN: THE DEFINITIVE LIVE STORY 1965-1995. More on that here.)
ROLLINGSTONE.COM SONG PREMIERE AND EXCLUSIVE DAVID LEMIEUX INTERVIEW
Head on over to Rollingstone.com for the very first listen of "Morning Dew" 9/18/87 Madison Square Garden, David Fricke's exclusive interview with archivist David Lemieux, and the reveal of 30 TRIPS AROUND THE SUN's '69 and '84 shows.
*Helpful hints for using your USB:
Running the 30 Trips Player / Reader program:
On Windows – Navigate to the USB drive and double click the PCStart.exe file to run.
On MacOS – Open the GD 30 Trips drive, and double click the MacStart to run.
Viewing the digital book:
You can either view it within the program that comes on the drive, or by opening the PDF directly.
To view the PDF, open the PDF folder on the drive and the USB_bk_spreads_08-31 file within. Selecting the option within your PDF reading application to view as a “single page” might be preferable to viewing as a continuous document.
Importing music into iTunes and other library programs:
When you import the songs from the USB into your library, the information used to identify the track will likely leave them sorted incorrectly. Please use the song list found here to re-number the songs for each show so that they playback in the correct order.
PDF
Text
Flat tires in Red & Blue States. . ..
floridabobaloo: I get what your saying and I am sure you are a good neighbor. The news has become a Left-Right Rant-Fest.
When you stop for a moment on Fox or MSNBC you know within seconds which channel it is. Pure Partisan-Rant Volume 2.
Oddly enough, however, with vaccines in the news, if you were to turn your back to the television and put on either Fox MSNBC or whatever channel, well, you would not know which channel it is.
Interesting.
Scary too.
I guess that tells you who rules over you: Big Pharma and their advertising dollars.
Ann Coulter
Yes, Ann Coulter likes the Dead. She and Tucker Carlson probably swoosh and twirled together at shows.
I'm not convinced they drank the kool aid (or perhaps they had a few drops too many).
You've probably heard of the Wharf Rats, meet the Fox Rats..
Well Said Fl. Bob
Listen to the river sing sweet songs to rock my soul.
Sam T
Take Too
What I find the most comical is that WE fall for this crap. Watch the ads on Fox then CNN or MSNBC. They really think these products are the favs of cons or libs! Anyway to segment and swindle the market to ones advantage. Its gotten to the point that the marketers have seeped into creating taste rather than serving it. Oh well.
I have learned one helluva lot about the band and its fans from being on this site, and what is clear, there is no norm except the peoples love of the music. If you wear tie dye with Birkenstocks, or a three piece suit, it doesn't matter.
The only thing I can say with certainty is that my wife knows I have a crush on Megyn Kelly. I try and tell her its because she's so smart, which leads to the "Uh Uh" response that you KNOW hasn't fooled anyone.
Its gonna be 100 degrees down here again today so all thats left to do is Smile, Sweat, Smile!
And thanks for the ear Sam and Jim!
politics?
I've never been political, to me they are ALL crooks and liars. I have never understood how we as a nation can be so divided along party lines. It makes no sense to me at all, never has. People are people, we are all just trying to make it on this crazy ride we are on. Life is WAY too short to worry about who we think is wrong or right. I just want to listen to some good tunes and enjoy my family and get along in peace with everyone as much as possible.
3-Piece, Tie Died Suit and Wingtips
Wingtips came up briefly on the DaP 14 thread, so you know us deadheads are a classy, well-dressed bunch.
Researched has shown the first head to sport Wingtips was Uncle Charlie from the sitcom My Three Sons (you can tell by the psychedelic intro with tripped out, cartoon wingtips). Close inspection of re-runs on Nickelodeon suggests that Uncle Charlie must have dosed Chip and Fred McMurray before taping.
If I have dated myself.. I apologize.
..but enough about fashion, back to the music.
Media and the Dead.
Funny how these TV networks that capitalize on raking in advertising revenue are even being mentioned on this site. Who cares what network people watch? I really could care less. I watch Fox Business network in the morning while sipping my coffee. Does that put me in a red or blue isle? I served my country for 6 years in the armed forces. We live in the greatest free nation on Earth. We are all in the same boat.
Peace
Keith
I think all of the talk that he was not contributing to the live music effectively after 1977 is a bit over-hyped, based off of (as best I can tell) one comment to the effect that Keith would echo back what Jerry was playing, which irritated Jerry to no end. Well I don't hear it in any of the live music available. I have everything released from '77 and '78, and I'm just not hearing any difference in what Keith is playing. I've even looked through the archives, and as close to the end as you can get - Jack Straw, January 1979 - sounding pretty good. I don't even know if the Jerry quote is legitimate, as it did not appear in any official publication that I've seen. Yet everyone always says "yeah, Keith was a non-factor this in the end, or Keith wasn't playing well that in '78". Who can point me to a song / songs where this deficiency in Keith's playing is discernible? Estimated on Dick's Picks 18 from '78 sounds as good as all Spring '77; Cassidy on Dave's Picks 7 from '78 has some great piano, which actually evolved since '77; Fire On the Mountain from Rocking the Cradle '78 has some great piano from Keith, just as good as '77; The Wheel on Dick's Picks 18 evolved and Keith's playing sounds better than '76; Terrapin Station from Closing of Winterland '78, just as good as anything in '77; he has a kickin' solo in Big River from Closing of Winterland that's as good as anything he's done in that song previously.
I could go on all day - what is this rubbish that his skills declined? One unsubstantiated quote and the guy gets dragged through the dirt. What I've read in multiple places, including Rolling Stone, is that the rift had more to do with the fact that Keith didn't want to play synthesizers. So be it, but the way folks talk about "Keith's decline" you would think there would be an endless supply of examples, like you get when people knock Brent (his vocals are off-key here, here, and here; his piano sounds like a child's toy here, here, and here; his voice sounds awful here, here, and here).
Where is this pattern of decline? I just don't hear it. The man is innocent of everything except refusing to take the music in a substandard direction, which, as much as I love Jerry, I have to say, Brent Mydland was not what the sound needed (it may have been what Jerry needed personally, but certainly not what the sound needed - it was doing just fine).
@LoveJerry
From wikipedia:
Following the group's 1975 hiatus, Godchaux increasingly yielded to a simpler comping-based approach that melodically emulated Garcia's guitar work. Lesh has retrospectively opined that by 1978, "Keith's playing had degenerated to the point that most of us were simply trying to lose him onstage... never a paragon of self-esteem, Keith's increasing drug & alcohol use had put him in an almost vegetative state. His musical timing was suffering, and he had developed some annoying habits onstage, notably slavish imitation of Jerry's lead lines, a tic that began to irritate Jerry to no end."
My comments about Keith being a "non-factor" were not as harsh as what Phil supposedly said, but my experience with listening to Dead shows is that what Keith played was just not that noticeable anymore post-hiatus...especially in '77 and after. Listen to the wonderful bouncy Keith solos on the Europe '72 tour for a contrast. Maybe he was turned down in the mix, too, in later years? Whatever the case, I just don't think there is much Keith love in the post-hiatus era namely because he wasn't doing much of interest. Still love his contributions to the Dead overall: my favorite of all the Dead keyboard players.
Re: Keith
Something else that contributing to their departure was the volatile nature of their relationships, which also had to do with alcohol consumption.On the other hand, I think it's a paradox that Jerry would complain abnout Keith playing going south, while at the same time allowing Bob to play out of tune slide guitar!
I was just listening to DaP from 1978, a nice Scarlet followed by what would have been a great Fire on the Mountain, ruined by Bob slide soloing OVER Jerry's solo.
Re: DearJerry/Keith
Why ask us? We didn't kick him out of the band.
There's a few factors you are not bringing up besides his playing. I don't think any of us question he was a brilliant piano player loaded with talent. But..
First there was his escalating drug use. By late '78 Keith had a heroin addiction (and for that matter so did Jerry). Towards the end of Shakedown Street, Keith couldn't even be found to finish the keyboard tracks on some of the unfinished songs, so John Kahn of all people filled in and did them. In Rock Skully's book, Rock states Keith was rumored to have stolen Jerry's stash once, which really pissed off Jerry. Shortly after that, Keith wasn't part of the JGB. Can't ask any of them if its true because they've all passed by now.. but I don't think there's much doubt about their drug use and drug of choice in these years.
There was also the relationship trauma. There were regular fireworks between Keith and Donna on a regular basis. Violent fights, trashed hotels, smash up derby's in the parking lots, ...drama.. tension.. yuk.
And then there was his playing. I think his playing had diminished or at the very least was not consistent by late '78, early '79 and, well, the sad truth is.. you can't get rid of Jerry and I'm not sure if having two junkies in the band was something they wanted or could continue with.
Keith and Donna wanted to leave too. I think she left a few shows early in one of the last tours because she couldn't take it either. Remember, they were trying to raise small kids at the time.
So its well documented that the parting was mutual. I'm not sure what is to be accomplished by going down that rabbit hole. They left and they got a new piano player. We weren't there, but I imagine if we were and if we were privy to all the facts and details.. well, my guess is one way or another, that darkness had to give.
One Edit: I read cousins reply (which was classic). Yes, amateur slide guitar hour. aaaack! Love ya Bobby... but on this one, I agree with my cousin. He supposedly started playing more slide to get the sounds he (they) wanted they keys. ..and yes, Donna in particular was drinking a lot, but Keith was chasing the dragon.
2nd that emotions
I have to say, I'm with lovejerry on this one.... That post is a post I've been thinking about writing for along time now, but have found that this topic is growing tiresome..... Still. My ears just dont hear the RAPID or TERRIBLE decline..... Having gotten thru the first 3 shows in my Europe trunk with what I call "deep listening", I find myself in utter disbelief at what he's doing on piano during that run.... Beautiful, creative and flourishes of piano runs that make me dream of bucolic rolling green hills on a lazy summer day..... His playing had such a dreamey, subtle vein running through it.... So if one is to compare what he sounded like from Europe 72, to 78, then I guess I can see your point....those flashes were significantly less, however the peaceful, subtle, floating style is still very much alive to my ears in the latter years.... Put on some headphones and REALLY listen to what he's doing on a row jimmy, Peggy-o and the jerry ballads...... It's still beautiful and unique for the notes he chooses NOT to play, rather than the notes he chooses to play.....Keith's energy always seemed to me to be aloof, quiet and passive..... I think that energy is much more pronounced in the late 70s, and it comes thru in the playing..... So yes, he was no longer "playing like a god" as Phil said about him during the Europe run, but still an incredible almost savont like player who just got more and more mello, as the dead got more and more intense......
P.s. Much like the 70s v 80s debate, this topic should prob be set aside for a couple of years? Anyone?
Keith quote from Blair Jackson's Goin' Down the Road book
In the tape collector's section in the back, Jackson introduces each year's "top 10" and in the 1978 blurb he states "Keith is a non-factor in many shows." I don't have the book with me for the exact wording, but that's pretty close. But he also says something along the lines of it's hard to tell much difference between the best of 1977 and 1978, which would echo your sentiments. That was published in early 1992 and probably the first time I saw it.
I tend to agree with you Love Jerry. While I think 1977 is amazing, some of the 1978 stuff is at least as good. That brief upper Midwest tour in late January - Early February '78 is amazing. The southern/SE tours in both April and December are really good and of course the Winterland shows after Egypt and New Years are epic!
Seems many fans and the band thought things were getting stagnant, but there were a ton of good shows taking place in '78 and early '79 with Keith and Donna. Perhaps the marriage troubles were becoming too much to handle or the opiates or who knows. But the music still stands up to me as some of their best.
Check out JGB live shows from 1978
Some great stops along the way from Keith in 1978.
And another vote for Red Rocks July 7-8, 1978.
Tennesse Jed ; Passenger ; Peggy-O ; The Music Never Stopped
Killer four piece combo to end first night 1st set
Re: Brokedown
I agree with your post. I think most people's minds on this are 'set like concrete'.
The back and forth is usually non-productive, and I can't say I learn a ton from it.. especially when the posts come with barbs or put down another's tastes or preferences.
I actually don't see the debate, I like the Keith years.. but spring '79 was their last hurrah, and enter the '80's and they got a new keyboard player.
It is what it is.
I am thankful someone pressed "record" on the tape deck, sit back and enjoy (or press skip if there's out there that doesn't tickle your pleasure bone).
You Know a Rumble Ain't a Rumble Without Me
Of course I agree with LoveJerry - not because I'm a Keith fan, but because it's true - there is really very little primary source evidence that Keith's playing deteriorated. Wikipedia? Even if Phil said it, ex-bandmates deride each other all of the time, it's the single most predictable type of slander they throw at one another. I'm sure he nodded off at the wheel a few times, but that's hardly a deterioration in skills. Not that it's a good thing.
But I get LoveJerry's sentiment, which I might also add was not an argument about the reasons he left the band so much as a defense of his playing. So while yeah, some folks have pointed out that there was drug use and whatever, the main point is that folks comment about Keith's deterioration of skill on here all the time, presumably because they read a Wiki quote or Blair Jackson comment - yet the evidence, the music betrays the notion that there was anything substandard in his playing. If I'm reading her post accurately she's just asking someone to point out which songs/shows/period demonstrates this decreased ability to play, and indignant (correct me if I'm wrong JerryLover) that when the topic of his departure comes up, everyone always says he couldn't play, he couldn't play, he couldn't play.
I have, myself tried to substantiate that claim that he could no longer play, but just can't find it. The proof should be in the pudding, but it's not.
Long live Keith. Both of them - Keith Moon drummed circles around Ginger - he just colored out of the lines a lot.
Jim In MD
I am asking "us" because "us" are the folks who frequently say Keith's playing declined without a lick of evidence to substantiate that assertion. Forget what you've read on Wikipedia or wherever, since it's not exactly a well documented topic, and listen to the music - where is it? Did Phil really say that? If he said it, is it true? In a court of law it's nothing more than hearsay. Give me a song or just recognize that every time someone comments that his playing declined is probably going off the Wiki quote or the comment from Blair Jackson's book (thanks for sharing, never saw it before), but a couple of off-handed subjective remarks do not make it true, and they don't hold up to scrutiny, which is my main point. People are regurgitating hearsay that does not hold up to scrutiny - no wonder politicians lie so much - it's so easy to pass lies off as truth to the masses. It's actually kind of scary. It would be interesting to scan this site for the past several months to see how often this unsubstantiated rubbish was repeated. I kind of feel bad for Donna. And the reason I didn't bring up anything like drug use or marital problems is because it has nothing to do with my argument, which is simply that his playing did not suffer on the stage, and I have the tapes to prove it :-) Or maybe I don't - I am willing to admit I was wrong or uninformed, which is why I posted in the first place - to find out if anyone can point to a performance where his playing was off. Keithfan mentioned Keith Moon - at least when his playing was said to have declined before his death, you can hear it in recordings (Kilburn 1977, Who Are You). That I believe, because it's well documented and easy to hear.
hahahaha What?? He stole Jerry's stash??
No wonder he wasn't welcome (and no wonder he couldn't finish the Shakedown Street session).
Hey hey, Jerrylover, don't drag my name in the mud lol. I only said he was a fair pilot.
No but really Keith Moon was like the tazmanian devil with drumsticks. If anyone has heard his live stuff from Tommy and Live at leads, in that '69 - '70 zone, you know what I'm talking about. I can understand why Clapton or Baker (I forget which one) would have given that snide expression when asked about Moon's talent compared to Baker, because Ginger was great, a time keeper, an arranger, and so much more than a drummer when it came to making music, but Moon was off the rails excellent, and completely untouchable from '68 - '73. But if you compiled the best live 2 hours of Moon with the best live 2 hours of Baker, Moon is a step or two ahead. What Baker brought to music composition, Moon brought to live performance.
I love the keyboard/era debates!
I don't agree that "old" topics, such as era- and keyboard debates should be retired. This day's posts has been the most interesting here to me in weeks: from floridabobs culture reflections all through the Keith decline discussion. Almost anything that generates a flurry of thoughtful posts seems cool to me as long as it's civil. As a lifelong Deadhead, I think the era/keyboard debate is perfectly relevant and (for me) endlessly fascinating (well, nearly endlessly). I'm extemely conflicted and ambivalent about most of the Dead's post-hiatus music and have been that way for >35 years. Where else can we talk about these things? If we only stuck to the forum topic, we all know these threads dry up quickly and become boring as all hell. My guess is that,era/keyboard discussions generate the most interest here, despite complaints about "old, well worn" topics. Anyone really bored can just scroll though topics that don't interest them.
I did draft a long post to contribute to the Keith decline discussion but lost the draft. Basically, I agree with LoveJerry. Keith sounds fine to me in the late 70's but as someone pointed out, he seems very low in the mix. Yes, there is a huge difference in Keith's playing E72 and May 77; but the same could be said for Phil and Bobby's playing. How could anyone not notice a similar decline in their playing? Listen to any of Bob and Phil's playing from the late 70's compared to, say Fillmore 2/69, E72, or WInterland 73. Night and day.
DearJerry
For the Shakedown Sessions, I don't think it was that he wasn't welcome to the studio, its that there were days that he didn't even show up, especially towards the end. Jerry, in particular, was pissed and asked John Kahn to finish.
He even has keyboard credits on the album.
Wouldn't that qualify to some of the comments at least?
I also think Keith's playing is brilliant for most of his career with the Dead, and I often spend large amounts of time listening to the Keith Years.
I also think band members opinions count.
So there's a lot to this, but most importantly I don't recall any significant volume of people bashing Keith's playing on this thread. ..and if there are some comments you might not like, they are almost always in response to someone stirring the pot with Brent bashing, which certainly offends people.
I was just highlighting that for a host of reasons Feb '17th was their last show, so lets be thankful for what we have instead of dwelling on what we cannot impact. It is what it is. That's all, nothing personal.
Mo' Keith
Just finished listening Row Jimmy from 3/20/77. Keith sounds great backing up Jerry's fine, lyrical solo, but is clobbered by every hit of Mickey's bass drum. I think this was mentioned a few weeks ago; very apparent to me on this track. To my ears, it sounds like there was a change in the mix from 76 to 77; more emphasis on the drums(esp. bass drum), and a less "crispy" bass, making the overall sound a little muddier than it was.
Speaking of Decline
Yeah Palmer, you bring up a good point. What happened to Bob Weir's guitar sound in the late 70s? I want to call it choppy flamenco, but I don't know why I want to call it that. It's something in the tone of his guitar that changed a whole bunch. I may be morphing into pre-hiatus guy....I've always maintained that they were better with just Billy on drums, and that almost anything they played on the Europe '72 tour sounded better in '72 than it did after the hiatus (Bertha, Cold Rain, New Minglewood ((Ladies & Gentlemen - wow)), Ramble On, Sugar Magnolia, Promised Land, Deal, the list goes on. But there was so much good stuff I like in 77/78 - Scarlet Fire, Music Never Stopped, Estimated Eyes, Help-Slipknot-Franklin, The Wheel, Samson, the list goes on.
You beat me to the punch
Keithfan, I have to admit, I have not listened to much Cream through the years. I respect Clapton's talent as a muscian, but never got in to his sound. Much prefer the prime time years of The Stones, The Who, and Zep (okay I and II in particular).
To all respect to Mr. Clapton, I can not imagine Baker holding a candle to Keith Moon. I can only assume Clapton has listened to Live at Leeds? Pure drumming magic. And yes, Moon's play deterioted the last few years of his life and maybe Baker was the overall better muscian. But as a pure druumer, I can not imagine Baker reached the rarified druuming artistry of Moon; or John B. for that matter.
Sammy T
Team Keith
I can't point to a single case of Keith emulating Jerry's guitar lines, and it seems I would have heard that by now if it happened with any frequency. I would like to hear one example if it exists. And all this BS about him resorting exclusively to "block chords"? Come on. Isn't that the exact opposite criticism? Anyone who says or repeats these things should listen again. And again. Personal problems aside, he remained vital until the end.
Keith
No, no, no, no, no. I was not merely regurgitating a quote from Wiki, Phil or Blair Jackson. What I wrote was:
My comments about Keith being a "non-factor" were not as harsh as what Phil supposedly said, but my experience with listening to Dead shows is that what Keith played was just not that noticeable anymore post-hiatus...especially in '77 and after.
That is based on my EXPERIENCE as a Deadhead with hundreds of shows, the bulk of which are 70s shows.
I love Keith's contributions to the 70s era, but I just do not notice much of anything he is doing during the post-hiatus years. It's not some horrible criticism like "He sucked" or "He couldn't play," it's "he was not much of a factor." I notice Jerry (of course) and Bobby (who can avoid it?), Donna (much improved), and the drummers (hit or miss). But Keith? No, I never hear him scaling the heights he reached in '72-'73.
Beware Mr. Baker
That was an awesome documentary. I am not sure a direct comparison between the two (baker vs. moon) is all that relevant, they had different styles. What's amazing to me is that Ginger Baker is still alive? The guy is nuts, totally insane.
If I had to pick Cream over the Who, there's no comparison for me either. I am solidly a Who guy..
If you haven't seen this, its not that long, take the time to watch it. I guarantee you will be entertained. Its hysterical.
Drummer Head Needed
I agree with Keithfan, much prefer the one drummer from 71- to 74 over 76-95 with two; however, love the two drummer set-up pre 71'. The druumming pre-71' seemed to steady the cosmic ship and after 74, drumming took more of a lead role. Thoughts from someone more qualified than me on this subject?
Damn good counter points
You guys bring up some insightful points..... Particularly Jim when he says "the band members points should count." Tough to argue.... Also palmers point about the drum situatuion with Mickey.... Several months ago somebody broke that down pretty in depth, (morgus) I believe?? I think someone stated that the reintroduction of hart meant the death of Keith..... Perhaps that's really the truth of it? The 2 drummers really do change the sonic landscape.... I have to admit that moves beyond my musical understanding, but i guess your right, it is damn interesting!!! I guess I was coming from a little exhaustion of the 70s v 80s nonsense, which always seems to bring the whole Keith vs Brent bullshit..... I Enjoy everyone's passion and point of view....... Peace y'all.....
I Swore I Would Never Do This
OMG I just went through my dead.net store confirmation orders and added up the cost of buying the E72 box set 1 at a time (a few of you may recall, I have a PhD in Europe '72 ;-)
It cost me almost double. Ton in tax and shipping. Blah. Interesting in hindsight to see the order I bought them in (and how fast I was ordering - man, like a freaking crack whore!)
Let's see - I bought 4/16 first because I wanted an extended jam Playing in the Band with no Donna. One of my least favorite shows now, and I've grown to love Donna, caterwauling and all.
I bought Tivoli 4/14 after reading about it in the top 20 Dead shows in Rolling Stone. It's a good show, but they're all good shows - not sure why this one made the cut, there are better ones.
Picked up 5/25 because I wanted Uncle John's Band and all of those rarely played tunes on this one. This turned out to be probably in my top 3 from the tour (I really made a statement for you Sammy T on this show - I still think the UJB=>Wharf Rat=>Dark Star=>Sugar Magnolia is the best disc on the whole tour - ok top 3 discs, let's get real).
After that, I think I just pretty much bought the ones with the least number of tracks on already released CDs (Europe '72 original, Steppin Out, Rockin' the Rhein, HYH), and anything with Uncle John's Band.
6/8/2014 Europe '72: Stakladen, Aarhus University, Denmark (4/16/1972) CD $32.56
6/22/2014 Europe '72: Tivoli Concert Hall, Copenhagen, Denmark (4/14/1972) CD $37.91
7/11/2014 Europe '72: Strand Lyceum, London, England (5/25/1972) CD $37.91
7/19/2014 Europe '72: Musikhalle, Hamburg, West Germany (4/29/1972) CD $32.56
7/21/2014 Europe '72: L'Olympia, Paris, France (5/4/1972) CD $37.91
7/21/2014 Europe '72: Kongressaal, Munich, West Germany (5/18/1972) CD $32.56
7/26/2014 Europe '72: Grote Zaal, Rotterdam, Holland (5/11/1972) CD $36.87
7/26/2014 Europe '72: Concertgebouw, Amsterdam, Holland (5/10/1972) CD $36.87
8/4/2014 Europe '72: Tivoli Concert Hall, Copenhagen, Denmark (4/17/1972) CD $32.56
8/4/2014 Europe '72: L'Olympia, Paris, France (5/3/1972) CD $37.91
8/17/2014 Europe '72: Strand Lyceum, London, England (5/23/1972) CD $32.56
8/17/2014 Europe '72: Jahrhundert Frankfurt, West Germany (4/26/1972) CD $37.91
9/5/2014 Europe '72: Rheinhalle, Dusseldorf, West Germany (4/24/1972) CD $37.91
9/5/2014 Europe '72: Wembley Empire Pool, London, England (4/8/1972) CD $32.56
9/5/2014 Europe '72: Strand Lyceum, London, England (5/26/1972) CD $37.91
9/22/2014 Europe '72: City Hall, Newcastle, England (4/11/1972) CD $32.56
9/25/2014 Europe '72: Studio du Grand Theatre Luxembourg,(5/16/1972) CD $26.14
10/2/2014 Europe '72: Strand Lyceum, London, England (5/24/1972) CD $30.33
10/2/2014 Europe '72: L'Esplanade de Lille, Lille, France (5/13/1972) CD $30.33
10/3/2014 Europe '72: Wembley Empire Pool, London, England (4/7/1972) CD $32.56
10/6/2014 Europe '72: Wigan, England (5/7/1972) CD $37.91
11/10/2014 Europe '72: Beat Club, Bremen, West Germany (4/21/1972) CD $19.72
total $744.02
Keith and Brent Fu%king rock
Both formed a team that was awesome. Which ever way you slice it. Good time blues
Good comment
Cuz. Keith's playing on 3/20/77 is what I, too, was going to comment on. Mickey definitely clobbers Keith's space, not only there, during Row Jimmy, but for the rest of his tenure - it's just the two drummer thing.And from the same show, LoveJerry was looking for a single song that showed Keith's decline, well, that would have to be the Stella coming out of the OT. I would love to pick his brain about that darn "sound" he made, or maybe had to make, in place of his undiminished grand piano skill that graced so many beautifully rendered heartbreaking versions he played in support of Jerry for those golden years, especially in the Fall of '72. Decline? Hmmmph.
Top 5?
Aw man it's tough to say. I hate myself for doing this, but (in no particular order):
5/25
4/8
5/4
4/26
5/23
Interesting - 4 out of 5 have Dark Stars.
2 from the Strand, the final venue of the tour
5/23 I've dubbed "Good Evening and Welcome to Here" - the immortal words of Bob Weir. Outstanding Promised Land - I can't decide if it's better than Venetta, but the two of them are the best two (I insist).
Hundred Year Hall is here - I guess no surprise, the sound might be the best on the tour and the performance is outstanding.
Runner up may have been 4/24 and 5/18. And 4/17. That makes 3 more Dark Stars....Jeesh, this is cheating isn't it?
Great List
No.. those are all exceptional shows. Sorry to put you on the spot. I'm re-acquainting myself with 5/25 now, its cycled to play soon. Just curious.. thanks man.
Two drummers
For me, the two drummer configuration post-hiatus worked off and on. It worked on a lot of 2nd set songs, not necessarily on softer Country Blues tunes. Kreutzman comes from a Jazz background, knows how to swing when necessary; Mickey is the opposite, he's best with odd time signatures. For example,Compare the drumming on Big River between 74 and 76; in the '76 versions sometimes you can hear Billy accenting the 2 and 4 beats while Mickey is on the 1. The '74 version is a laidback Country shuffle. Now take St Stephen with only one drummer, and it's just not the same(they skip the off-beat accents, which made the song!)
E72 Tally
Those calculations were enlightening, Dr. Keithfan, PhD. I, too, bought them individually (at least my state wasn't collecting tax on dead.net items last year), and figured it would've been cheaper to go for the box set, but didn't know how much cheaper.
I was just really getting into the Dead in December 2013 when I was hit by a pick-up while running (I was running; the pick-up was driving). Broke both my arms. I'll never be able to drum like Billy again. Anyway, I swear those long, mind-bending jams are what facilitated my rapid recovery.
Then my job got massively stressful. I found solace in buying E72 sets a few at a time: If I placed an order for three shows on Tuesday, the shipment arrived on Saturday. Made the weeks go by more easily, and made the weekend happy. So, no regrets on paying the extra money.
Nice picks KeithFan!
My top 5?
4/26 is my fave. 4/24 and 5/26 are tied for second. The last two are variable, but right now, I'd have to go with 5/11 and 4/8.
Politics
Hey...I thought we weren't allowed to mention political leanings and/or ideals on this board? So what if a guy that watches FOX News (or just FOX in general) begins liking the GD. Who cares...and mind your own business.
Joke you if you can't take a fuck.
Adios!
Eras
For what it's worth, almost all of my GD listening are pre-hiatus shows (and the GD occupies about 95% of my music-listening). I don't know whether to apologize for this next statement, but 1977 doesn't even do much for me anymore. I simply love the jazz and space of the 1972-1974 era. It's an addiction, really. Do I need help? I think the 30 Trips Box may help me expand...maybe. I'm not promising anything.
I previously enjoyed 1989-1990 GD as much as pre-hiatus, but I've been burning the 1972-1974 almost constantly for the past few years (plus Old & In The Way and Garcia/Saunders).
Regarding Europe 1972:
5/26
5/11
4/8
5/18
4/26
+/- a few other gems (I forgot Paris)
Whats up people!
Havent posted much lately, right now my life is in turmoil you might say...as far as E72 goes, I love them all! i bought them all individually as i missed the box set. wait until they have the 20% off sale and pounce! Most of mine were bought with gift $$ so I didnt spend much! Hope to be around soon. Things will be better in about a month or so...till then, Take care folks!!
RE Politics
I've always found the notion that you can't favor a Balanced Budget, Low Taxes, Limited Gov't AND be a head rather silly.
E72
Had the record, had the cd of the 1st record. Got Hundred Years Hall, someone liked my copy more than they thought I did.
Passed on the E72 box, could not afford it at the time, was facing fertility challenges not covered by insurance. I was bummed when it sold out, but family first - I made the right decision.
In the past few years when they announced the shows individually -always on the list but the next limited edition box got in the way. Didn't want to miss out again...
This year would be the year to continue my journey...
Gave a rough guess what it would cost to buy each show individually and then a couple of shows at a pop and a bunch of shows at a pop. The bunch of shows made sense, then it was figuring out the first bunch, cause you don't know if there are limited quantities...
And during that time of calculation, recalculation, indecision, but dying to pull the trigger on the first bunch... Out of the Event Horizon beckoning me to the dark star, like Charlie discovering the magic gold ticket, a coupon rose of out ashes of that 50th ticket fiasco, which made my decision easy - go for the whole enchilada with the free shipping at 10% off... I was rewarded for making the right call (tough call). I'll take my baby girl who requests "Will you marry me sweet Peggy-O" every night over the trunk, the book and the trinkets, if any, from Europe 72.
Things find a way to work themselves out.
The 94/95 Althea....
....it's a sunset version and it's good. Does that make it wrong?....
I just happen to have...
Hey, Novembereleven, I just happen to have a copy of Blair's Goin' Down the Road right next to the computer. Here's the exact quote:"Keith was sufficiently out of it much of the time that he was practically a nonpresence at some shows..." Then Blair goes on to say that "the strain in their relationship to each other and to the other members of the band isn't particularly evident on tapes."
I also remember a review in DeadBase where the reviewer's date says that the piano player looks like he's asleep (probably a Dolgushkin review).
Personally, I can find something to like about all the Dead's keyboard players but Keith is far and away my favorite.
So I'm not providing any evidence to prove or disprove his late era competence, just providing more examples of opinion. My take is that while there are many great shows from '78 that year is much more inconsistent than previous years and, for my tastes, the Dead would never be as great as they were before Persian became such a factor. But there is still a ton of great music after '78, and this new box features many examples of that.
As for Keith and Donna's departure from the band, I have a couple opinions based mainly from reading between the lines in the many books and interviews I've seen. (I don't claim to "know" anything) but the feeling I get is that Keith going through Jerry's briefcase was probably his biggest sin, far worse than anything he did on stage. Some of what the band said might very well have been an excuse rather than explaining that sordid mess.
Also, based on the interview with Donna, I can't help but feel that this idea that the parting was mutual is really just a way for the Godchaux's to save face. They were going to be fired whether they agreed to leave or not. Again, just an opinion; and I'm not bashing Keith and Donna at all, the Godchaux years are my favorite.
Keith
Keith's playing very obviously declined after Fall '77 into '78. The tapes on this are pretty glaring. Listen to 11/24/78 or 12/31/78. In '72 he had a bouncy, ragtime, full, precise sound in '72. By '78 he's sloppier and doing a lot more banging chords than the intricate finesse-y type stuff.
Some of the reason for this was his well documented drug habit (Keith and Donna gigged a bunch in 'JGB in '78 and I suspect Keith was falling in with Jerry's habits, and Jerry was a dangerous guy to try to keep up with. It's widely known that Keith was a mess in '78 and it created a lot of friction with Donna and the band).
But I think some of the reason he began to decline is the band's '78 swerve into louder, fuzzier, raunchier tones and electric rock 'n roll (vs the ragtime band). When Keith joined in 1971 it was a 1-drummer band and by '73 they were playing light, loose and ragtime/jazzy. But suddenly in '78 they were in full beast mode and a piano doesn't really fit into a raging 2-drummer band easily - must have been frustrating for him. The band was pressing him to play more organ, but he didn't wanna. In the 12/31/78 video you can see Jerry at one point and push the mic into Keith face as if to say "C'mon, sing your part", and Keith just pushed it away without a glance. Friction.
But yeah, Keith's playing spiraled out in '78, and the band was turning the corner into arena rock, and Keith must have felt a little left behind…. He really didn't fit in as much as in the early 70's, and he knew it.
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