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  1. Alabama Getaway Greatest Story Loose Lucy Cassidy Tom Thumbs Lay down sally Lazy lightning/supplication Lazy river road Feel like a Stranger Here comes sunshine Playin>Uncle John’s China>Rider Drums space St Stephen Let it grow Days between Playin reprise Let it Rock The first set, while masterfully executed left a lot of good stuff on the table for the second set to be special and i think they picked some really choice stuff. It smoked. The Days Between was a stunner, Jeff owns that song!! Nice big crowd, perfect weather. Good to be with Doc for his return to the scene, haha all smiles.
    10 points
  2. 1969-02-07 Stanley Theater , Pittsburgh Pa filler: Easy Wind Hard to Handle Strange Man Love The One You’re With I am no longer sad about missing out 🕺🏻🙏🏼💃🏼
    8 points
  3. 69/01/25 Avalon Ballroom, San Francisco, CA Dark Star>St Stephen>William Tell bridge> The Eleven>Lovelight. Dupree's Diamond Blues, Doin' That Rag, Cosmic Charlie, Alligator>Drums>Alligator> Caution>Feed Back>Bid You Goodnight, Filler: Easy Wind, Sing Me Back Home, Next Time You See Me, Take a Letter, Maria, Sittin' on Top of the World, You Ain't Women Enough, Mr. Charlie, Ripple. From the first bars of Dark Star, to the final notes of the Ripple, this show oozed special. The first stretched out in all the right places, the Star particularly devastating in its development. Lovelight a full Pig version. Doin' that Rag a mindblower, Cosmic Charlie slowed a beat. Caution epic. Killer Filler. Reaching deep into the catalog for a couple of gems, and they absolutely slay Easy Wind. What a close to a five show run, infinite magic. Thanks Band and Crew. Praise DSO.
    8 points
  4. Completely GAME ON show…such a different experience than Del Mar which was super fun, played so well and arguably had better sound in the brand spanking new venue but…. complete roof blowout during Deal after a super solid first set and just total second set beauty perfection…whatever words you use for speechless situations… LA crowd was full throttle and giving it loud and clear back to the band right out of the gate and all the way through and the symbiotic organism fed on itself thoroughly throughout the night…band was so ready to go out on limbs and lay it all down…never recall seeing Jeff quite so animated and playful and literally getting down while slaying the shit out of so many jams… it was just one of those nights…. the Wiltern is such an old beauty (had seen them there 4yrs? Ago) and it makes me wonder how the influence of such a beautiful space that clearly has soul and so much history influences the music… terraced floor so no slope dancing, like the warfield and other small halls I’ve seen that have Eliminated the slope floor for flat terraces….boulder theater comes to mind too… didn’t talk to tons of people but was surprised how many peeps we came across who were DSO virgins in last couple nights. Definitely DandC splillover in there… getting their minds blown I’d say! wow thanks for this full throttle dialed in Saturday night in LA Smokin’ Hot🔥 ⚡️🌹⚡️
    8 points
  5. Confirmed Set 1: Let The Good Times Roll ; Iko Iko ; We Can Run ; Dire Wolf ; Broken Arrow ; The Wheel ; Operator ; Loose Lucy ; It Hurts Me Too ; Might As Well Set 2: Jack Straw ; Rubin And Cherise ; Unbroken Chain > He's Gone > Got My Mojo Working > drums > Walrus Space > Let It Rock > The Low Spark of High Heeled Boys > Wharf Rat > Viola Lee Blues Encore: The Golden Road (To Unlimited Devotion)
    8 points
  6. 1973-02-23 @Assembly Hall, U. of Il, Bloomington, IN Promised Land, They Love Each Other, El Paso, Bird Song, Mexicali Blues, Deal, Looks Like Rain, Tennessee Jed, Box Of Rain, Playin' In The Band Wave That Flag, Me & My Uncle, Dark Star-> Eyes Of The World-> China Doll, Around & Around, Goin' Down The Road Feelin' Bad-> One More Saturday Night E: Casey Jones F: Piece of my Heart ❤️ Such fun with great company and a killer show! That Dark Star was simply beautiful ! Review to come - I’m gassed
    8 points
  7. 69/02/07 Stanley Theatre, Pittsburgh, PA Dark Star>St. Stephen>William Tell Bridge> The Eleven>Lovelight. Cryptical>Other One>Cryptical>Death Don't Have No Mercy>Alligator>China Cat Jam> Caution>Feed Back>Bid You Goodnight. Filler: Easy Wind, Strange Man, Hard to Handle, Love the One Your With, Tore Up. This one was not to be believed. First standard early 69 fare, the Star stretched a little more than Napa, Eleven elevating, Rob strong on the Lovelight. Second the real face melter from first notes of Cryptical, Death Don't popped the lid on the insane closing sequence, Caution went deep. I absolutely lost my mind during the Easy Wind, the filler much like Napa killed. Spent the evening with many loved friends. Thanks Band and Crew. Praise DSO.
    7 points
  8. Holy Guacamole 🥑 Batman! Looks like they threw the kitchen sink at ya'll - and then the whole kitchen, just for good measure 😮 Reads like a dream to me - I'll bet it was a lucid dream for all that got to plug into THAT vibe. One of the best vibes there is musically which I've nicknamed: Endorphin Firehose. Who wants a sip? What I'm most happy about, is BillK522 finally getting the royal treatment with this offering. The veritable 1969 white whale was finally realized - and then that monster just swallowed Captain Bill, whole All I know is that the opening refrain of Dark Star must have made everyone giddy with anticipation 🤪 With a Dark Star opener, you know you're embarking on a 3-hr journey. I might have just jumped out of my skin. Thanks to DSO + Crew for deciding to make this one happen for some very deserving friends- infinite magic indeed ❤
    7 points
  9. So I have this little project that I've been working on for quite a while now - 6 years? I think it's ready to share with the world, or at least the Deadhead subset of the world. This started out with the thought - why is there no modern, searchable online database of GD shows? Eventually, since this is the sort of thing that I do for a living, that thought grew into "I could do that, but do I really want to?" It was a huge undertaking, and over the years it got shelved several times. About a year ago I found myself telling @John A about it, and it is in large part because of doing so that the project eventually got to this point. Several folks here on the forums have seen this, but I owe a huge thanks to John in particular for his contributions to the data, and his infectious enthusiasm for all of these Grateful Dead stats and details. The site isn't complete, and probably never will be, but it's time to get it out there, to see if anybody actually uses it. If it gets discovered and has enough people visiting, I'll keep paying for the hosting... but if not, it might not last. So I hope some of you will check it out, pass it around, and have some fun with it. https://www.gratefulsets.net/
    7 points
  10. JGB Original Recipe Set 1: The Way You Do the Things You Do ; I'll Take A Melody ; After Midnight ; Strange Man ; Let It Rock ; Gomorrah ; Moonlight Mile ; Tore Up Over You ; I Want To Tell You > Mission In The Rain ; Mighty High Set 2: Lay Down Sally ; Shining Star ; You Never Can Tell (C'est La Vie) ; Simple Twist of Fate ; Run For the Roses ; Senor (Tales Of Yankee Power) ; Dear Prudence ; Deal Encore: My Sisters And Brothers Notes: JGB elective. Eaton out on medical leave. Skip sings lead vocal on “Moonlight Mile” Dino on drums. Koritz drums on encore.
    7 points
  11. Giza Sound and Light Theater, Cairo Egypt, 9-16-78 Bertha Good love Candy man Looks like Rain Row Jimmy El Paso Ramble Minglewood Deal Hamza El Din Ollin Arageed>Fire on the Mtn Iko Iko I Need a Miracle All over now Shakedown Drums Truckin Stella Around and Around Sunrise One more sat nite Jeff said the Sunrise was supposed to be in the middle of the second set but the original set list didn’t show it. I’m fucking glad we got it tho cause there are few things I love more than Lisa singing that song. Another stellar performance from the best band in the land. The Shakedown alone was worth the price of admission.
    7 points
  12. We had the best time. Jubilee is just the best. Everyone from staff to vendors to the patrons are just top notch. I’d like to also thank the weather. It was also 5 star. We adopted a staff member with a golf cart to join our camp. He’s like I asked what to do and they said we will radio you if we need you and they never did so we met a new friend with benefits. Having a driver up and down the hill is sweet. He figured why not give peeps a lift to help if nothing else to do so we made a new friend. He was jamming with us during dso in his yellow jacket in the crowd lol. But every staff member had a smile besides maybe the overnight wristband checker at the gate. That’s a rough gig and he was the only staff that ever turned down a swig of good whiskey. I’m like bro you’re the one that needs it more than anyone at 3am in the chill. one of my favorite shows was Mattson and friends. Lisa, Jeff, skip and rob b and tom b with koritz popping in once in a while. It was such a fun setlist. I love hearing non dead songs done dead style. During masters of war, I couldn’t hold back a tear with Lisa singing it so angry. She really put her hatred of the senseless war and death into her singing and I was choking up the whole time it was so powerful. The last time I couldn’t control my emotions was Lisa breaking out chimes of freedom in Portland 2/2017 but that whole place had tears streaming. Skip singing the Kinks I’m an ape man is just perfect. He brings the fun to it. Rob b smoked the vocals on Dig a pony. I hadn’t heard that song in years. I was like holy shit they are playing deep cuts. here’s the set list Jeff Mattson & friends 5/28/23 Bright lights I want to tell you Ape man Body parts Take a letter Maria say that I am Carmelita Dig a pony Senor Masters of war 3/5 of a mile in 10 secs
    7 points
  13. Loved the dancing! Saw old Wofford friends ; good to be among the terriers. Fun dance space. Overpriced drinks. The venue staff security were assholes. I watched them send women away with their purses that were reasonably sized and even on point because they said that they were too big. Problem is women clothes typically lack pockets, so what’s a girl to do with her things I mean they say they don’t want women to dress like men, what do they expect? I mean my purse is the same size as one dude’s cargo pants. This is archaic I told the security guy he needed to be less a Barney fife, and more of an Andy Griffith enough of the diatribe. down with the patriarchy ! I spent the night dancing and detoxing from the daily grind. It was so good to hear Mattson psychedelic guitar iand hear good music. The whales sounds coming out of space calling attention to the stage . Great dance crowd during good loving. et 1: Feel Like A Stranger- powerful and fun like 80s were ; It Must Have Been The Roses ;lovely On The Road Again so fun. One of the gems of the 80s to hear that one. Love a good jig ; Jack-a-Roe ; 🥰😍I’ve learned to play on guitar. And I was Ginger Roger’s during this song . It's All Over Now ; Cumberland Blues short jam ; The Music Never Stopped Ahhhhh! Set 2: Cold Rain And Snow 🌹to Dirkstar and all the wonderful people he brought into my life; prayers for his sun. Grateful. RIP ; Lost Sailor > Saint Of Circumstance what more to say? . > Don't Need Love sold it ! to the highest bidder… maybe the security guard…. > Uncle John's Band like a balm to the soul. Calm and sense reign supreme drums > space > Playing In The Band reprise >Uncle John's Band reprise > Morning Dew Encore: Good Lovin' Filler: Playing In The Band with Lisa!! -> Love the One You're With sooooo good …..the vocals were perfect harmony.
    7 points
  14. 2-3-79 Indianapolis Promised land Candy man Mama tried Brown eyed Looks like rain China cat > rider Minglewood Stagger Lee Heart of me Music never stopped Scarlet > Fire Estimated > Eyes Drums Other one Wharfrat I need a miracle Casey jones One more sat nite F: stir it up wowzers,… that one didn’t leave much in the tank. That 2nd set, near apocalyptic. Another really beautiful old theater.
    6 points
  15. Tried and true material. Personally business picked up at the China Rider. Pre drums delivered with world class precision. Miracle>Casey Jones probably did not happen often. Fantastic group in the hall getting down all evening. Spent the show with many loved friends. Praise DSO.
    6 points
  16. Finally checked from my bucket list seeing a show at the Warfield. It did not disappoint, due in large part to the scorcher we got from the band. I’m an early era guy so not my favorite collection of songs but nobody puts lipstick on a pig better than dso. They’ve given me new appreciation for many songs I’d usually skip over. Loser was gut wrenching, cc rider just ripped, and shakedown bout brought that gorgeous ceiling down. Second set up to drums was non stop fun. Skip was playing Phil’s Mission Control bass and let me tell ya, the bombs were flying. Cherry on top being the Visions and going down the road. Dance party was bit scattered due to the seats, but we managed to carve out the space we needed. ps: 1 draft beer = $20…. However the security staff couldn’t have been kinder. The one behind us was trying to help somebody find a lighter for their joint. Thanks to some great folks that showed us how Warfield shows are done, the experience was exceptional. Thanks as always to the band and crew!
    6 points
  17. Original Recipe Alabama Getaway, Hey Pocky Way, Big RR Blues, Passenger, Peggy-o, Cassidy, Brown-Eyed Women, Broken Arrow, Let It Rock, Pieces of My Heart. Foolish Heart, Lost Sailor>Saint of Circumstance> Crazy Fingers>Drums>Space>Tomorrow Never Knows>Love the One You're With> Saint Stephen>Morning Dew>Viola Lee Blues. E: Baby Blue Welcome to the Left Coast. Small theatre, Slanted floors. No balcony. How am I gonna make this work? Answer: Incredibly well. Well thought out elective delivered to a weekday audience. Big RR third a means business early indicator, although this one crept up on you. Let It Rock hammered. Foolish a bit bumpy, the delivery of the Crazy Fingers more than made up for it. Flawless covers led to the Stephen that popped the cork on a mind blowing final sequence. The closing crescendo of Viola outer limits. Spent with evening with many loved friends. Thanks Band and Crew. Praise DSO.
    6 points
  18. Eaton just had successful spinal surgery. Here’s to a speedy recovery for Rob! I hope he’s feeling like his old self soon - {{{Healing Vibes}}}
    6 points
  19. 74/08/06 Roosevelt Stadium, Jersey City, NJ Bertha, Mexicali, Don't Ease, BIODTL, Sugaree, Jack Straw, Eyes of the World>Jam, Promised Land, Deal, Playin' in the Band>Scarlet Begonias> Playin' Reprise. Uncle John's Band, Black Peter, El Paso, Loose Lucy, Big River, Ship of Fools, MAMU, Row Jimmy, Sugar Magnolia>He's Gone>Truckin'>Spanish Jam> Other One>Goin' Down the Road>Sunshine Daydream. E: US Blues. Great Friends, Beautiful Day, Kick Ass Band, What's not to love. Praise DSO.
    6 points
  20. Well, what a great start to three nights at this amazing venue. We got in over here on Thursday, have been driving around this beautiful area, it’s really cool here. Rode the gondola to the top of the mountain, where there are a couple buildings under construction. Passed by few food trucks and a beer tent, to the concert area, a small flat area followed by a short, steep incline up to another flat area at the top. Started down at the bottom and spent most of the time up top enjoying the view of the stage, with the staggering expanse of Grand Teton National Park providing the backdrop. Start time was scheduled for 6pm, had a rain delay of maybe 30-45 minutes, but the storm passed quickly and the sun came out and warmed everything back up. Love the early start outdoor shows, sun was setting early in the second set. I had a good time and the band sounded excellent but I had a hard time getting my legs, usually seem to run into that on the first night of a run, where it could be any number of factors, but I think the elevation was giving me trouble so I took it easy most of the night. Gonna go hit em again tonight with renewed vigor, probably gonna go poke around here again today and see what we can see. Thanks DSO for playing here, been wanting to visit here for a while and this was the perfect time 😄
    6 points
  21. BOSTON MUSIC HALL - NOVEMBER 14, 1978 The Wang is the old Boston Music Hall and you could feel the bands pleasure playing this recreation from the very same room it was originally played. Absolutely stunning theatre. I couldn’t have asked DSO for a better local return. Boston shows at the Wilbur were fun, but the venues don’t compare. The Wilbur is tight and crowded, discriminates on deadheads, and lacks the space and sound we crave. I’d love to see them play the Wang again in the future. Missed my forum friends but there was an epic dance party in the red carpeted hallway at the top of balcony. Passenger, Estimated Eyes, ship of fools, wharf rat, and GDTRFB personal highlights. GDTRFB was just silly good… so much fun. Got my first “piece of my heart tonight”. I am “on call” which starting at 11pm so I was sober for this show… pretty sure first ever. I danced more than I ever have AND saved money! Everything about this night was perfect, including not running into my ex who first brought me to shows (lol) and hanging out with my cat now as I rest my bones. ❤️❤️❤️ Sugaree El Paso Candyman It's All Over Now Loser Passenger Stagger Lee I Need a Miracle Bertha Good Lovin' From the Heart of Me Ship of Fools Estimated Prophet Eyes of the World drums Wharf Rat Not Fade Away Goin' Down the Road Feelin' Bad Johnny B. Goode Filler: Piece Of My Heart
    6 points
  22. My lovely wife will be singing backup for Lemongrass on Saturday so be sure to give any early dance moves you have to spare…see you soon 🤠
    6 points
  23. Capitol Center, Landover, MD (9/25/76) Bertha New Minglewood Blues Ramble on Rose Cassidy Brown Eyed Women Mama Tried Peggy-O It's All Over Now Loser Let it Grow Sugaree Lazy Lightnin' > Supplication Mississippi Half-Step Dancin' in the Streets > Cosmic Charlie Scarlet Begonias St. Stephen > Not Fade Away > drums > St. Stephen > Sugar Magnolia (no original encore) F: Mr Charlie I’m 100% cooked (rookie) but was indeed a doozie ⚡️. I’ll reflect again but that Let It Grow Sugaree was bonkertown
    6 points
  24. Phish is a person you bang for fun. A little skanky, but fun. GD is marriage material. Lol
    6 points
  25. Was in NYC over the weekend and saw Miles Davis bassist Marcus Miller play the last show of his residency at the Blue Note Jazz club. He had old Miles Davis band mate Mike Stern sit in on guitar. It was incredible!
    6 points
  26. what’s wrong with Lafitte 55 ? 😉 I wish all of you were there the last two nights. From my seat, it doesn’t get any better. More like a fine Burgundy, though 😉 oh before I forget, the 69 from a few nights ago. 🙀🙀🙀🙀🙀🙀🙀 back to your regularly scheduled program 😉
    5 points
  27. HOLY SHIT! Best DSO show I have ever attended, by far!! Easily one of the top 5 CONCERTS I have ever attended! Please tell me I can find this show for sale on a DVD or on ReListen!
    5 points
  28. Overwhelmed several times by the bands inspired play. Scarlet Fire unreal energy lifted the whole theatre. Jeff really nailed the second set. Thanks band and crew. Praise DSO.
    5 points
  29. https://relix.com/articles/detail/dark-star-orchestra-deadhead-adventure-travel/ On Nov. 11, 2022, Dark Star Orchestra performed at Chicago’s Vic Theatre to celebrate the 25th anniversary of their debut concert. The Grateful Dead tribute act returned to the city where they initially appeared at Martyrs on 11/11/97, with their signature approach, which involves interpreting specific setlists from the Dead’s history. While this was a momentous occasion, perhaps a more significant one took place over eight years earlier, on April 12, 2014, when DSO played their 2,318th show, equaling the total number of Grateful Dead performances. As of Dec. 31, 2023, Dark Star Orchestra has played 3,217 gigs, including multiple appearances at their own Jam in the Sand and Dark Star Jubilee festivals. This an extraordinary achievement that speaks to the enduring music of the Grateful Dead as well as DSO’s ability to interpret it. The group’s current roster includes guitarists Rob Eaton and Jeff Mattson, drummers Dino English and Rob Koritz, keyboardist Rob Barraco, bassist Skip Vangelas and vocalist Lisa Mackey. English, Eaton and Mattson, who joined DSO in 1999, 2001, and 2010, respectively, are all Deadheads who had previously performed the music of the Grateful Dead with other groups. Here, they share their perspectives not only on the Dark Star Orchestra, but also on the legacy of the good ol’ Grateful Dead. We’ve reached a point where I believe there are more Grateful Dead fans who never saw Jerry Garcia than those who did. What do you think accounts for this surging popularity and how do you view your role in it all? DINO ENGLISH: For a lot of kids, we’re their first experience with Grateful Dead music. It’s all about keeping the music alive and whatever part I can play in that feels good to me. I’m just doing my part in trying to keep the whole thing going and I feel privileged to be able to do so. By no means do I think that I’m essential, but I think I should be doing this. The music is still extremely relevant, and it will continue to be strong for a very long time. We all love it and we want to contribute to it. It’s like a living entity. You want see it prosper, continue on and do well. ROB EATON: I think the catalog speaks for itself. In my mind, the music has always been timeless. When you can hear the lyrics, they’re not telling you, “Oh, this is 1985 angst.” It doesn’t feel like a song is associated with the politics of a specific time period. It’s not yelling at you. It’s accessible to people. It’ll be accessible to people in 100 years, just as it was to us 50 years ago. I think it’s a testament to Robert Hunter’s lyrics and [John] Barlow’s lyrics and how they saw the place of music in society. It’s a big catalog. One of the things that I like about Dark Star is we have the whole catalog at our disposal at any particular time, which is something the Grateful Dead never really had. They picked up songs, dropped songs, picked up songs, dropped songs and so on and so forth. The music makes me feel good. The melodies are so rich and deep, and the lyrics are so deep, as well. We’re just Deadheads. We don’t really know any better. We’re just out there playing music how we like to hear it. Our spin on it is all the improvisation. You can play “Sugar Magnolia” seven nights in a row and it’s going to be different every time you play it. So that’s what keeps it interesting for people like me, after so many shows and so many years. You never really know where it’s going to go or what’s going to happen. It’s still an adventure. JEFF MATTSON: I never thought that this many years after Jerry’s passing, people would still be so hungry to hear Grateful Dead music. It’s a powerful force in the world. It also amazes me how many young people there are, particularly up on the rail. But it’s a wonderful thing and a testament to how great the Dead were and how great the songs are. Robert Hunter’s lyrics are nonspecific in a way that these songs continue to evolve my understanding of them—what they mean and how they relate to my own life. Those are kind of the best songs, in the sense that they will change with you. Words you’ve been singing for many years will take on new significance. I think that the best lyrics continue to reveal themselves. Now you have bands doing a bluegrass twist on Grateful Dead or a Latin twist or a jazz twist. I guess DSO’s niche is that we will give it to you the way that it was at the time. As you’ve noted, the songs themselves are a major part of the equation. That’s now part of the prevailing wisdom, but back when you were seeing the Grateful Dead, that aspect was often overlooked, especially when local newspapers would review the parking lot rather the show. JM: I think that a lot of music critics didn’t know what to make of the music. It was so different than everything else they were reviewing. So maybe they were being kind in a way. Rather than commenting on something they didn’t grok, they just talked about the social phenomenon. I cut the review out from my first show [9/8/73]. I think it was from Newsday. I’ll never forget that the reviewer said, “And they encored with a lovely song about a woman named Stella Green.” [Laughs.] They were selling out arenas for all those years, but they were kind of doing it under the radar. It had nothing to do with the popular culture at the time, I guess until ‘87 with “Touch of Grey” and then, all of a sudden, MTV discovered the Grateful Dead, this new phenomenon. But before that, we were just going to the shows, creating the tapes and nobody paid any attention—other than an occasional article about the crazy Deadheads traveling around the country or something like that. Dino, how did you come to join DSO? DE: In the ‘90s, I was performing original music in St. Louis with bands on the weekends and then, during the weekdays, I started playing in one of the bands that was covering Grateful Dead to make some extra money and have a good time. In 1995, after we lost Jerry, it kind of hit me, though—“I need to do whatever I can to keep this music alive.” So we started taking it much more seriously, touring regionally and doing weekend runs. I was playing with Rob Koritz, doing the double drum thing—my first exposure to that was Genesis— and I was having a good time playing with him. Eventually ‘97 rolls around and I started hearing all this buzz about this band Dark Star Orchestra. Then one time, we were playing in Chicago and Dark Star Orchestra was playing earlier, so we ran over there and checked the show out. I was able to catch some of the first set and I thought, “Oh, these guys are all right.” They were in a much bigger venue than we were, with 1,000 people in there, and after I saw them that first time, I decided I was going to drop out of the whole thing because they had the ball. I felt like they’d taken care of the thing, and I could go back to original music. So that’s what I did. Then one day, our band needed a website, and Dark Star had a really advanced website for the time. So as I was showing it to the other singer, all of a sudden there was a pop-up window saying that Dark Star Orchestra was looking for a drummer. I mulled it over for a few days because I had already switched gears, but I decided to send an email. It went to Scott Larned [the band’s co-founder, who died of heart attack in 2005]. He contacted me, and when they were in Columbia, Mo., I met them there and gave him a tape of my playing. From there, they had me come out to play a show and then they asked me to join. It turned out they were also looking for another drummer, so I mentioned Rob Koritz. Rob, how did you connect with Dark Star? RE: We were doing a Dick’s Picks release party at Wetlands over the course of a weekend. The Zen Tricksters [Jeff Mattson and Rob Barraco’s band] played one day and Border Legion [Rob’s band] played the next. David Gans was the host and Dick was there being Dick. Later on, Scott Larned asked Gans if he knew of a guitar player and Gans mentioned me because he had seen me at Wetlands. So I got a call from Dark Star because of David. It’s all David’s fault. [Laughs.] I went out to do five shows with them in Chicago. This was December of ‘99, but I didn’t do it full-time right away. I would go into the studio and work for two months. [Eaton maintained an active career as a studio engineer with three Grammys and multiple platinum records to his name.] Then I’d go on tour with Dark Star, before I’d go back into the studio and do another record. I did that for about a year before I joined full-time in early 2001. When Jeff later joined in 2010 [after John Kadlecik departed to perform with Furthur], that expanded the range of DSO and you began dipping into 1969 material. RE: One of things that Jeff could do very well was the old stuff. He had to learn a lot of the later Garcia and Weir stuff, but the old stuff he knew off the top of his head. So we had to learn some of the old stuff to keep up with Jeff and Jeff had to learn some of the new stuff to keep up with us. It expanded the repertoire in a good way. Jeff’s approach to it is very free, and especially talking about the old stuff, his way of approaching music is kind of like Garcia’s in the sense that he’s just playing from the heart— whatever he feels—and that’s the most important thing. The fact that we can go out and do a ‘69 show one day, an ‘87 show the next day and then our own setlist the next day keeps it interesting for us and for the fan base. Some people chase the ‘69 show. We probably only do one a tour, if that. So it’s a novelty to a degree. We don’t do it all the time, but when we do it, it’s usually pretty fierce because that music’s pretty fierce. DE: It’s the really ravenous fan that loves the ‘69 stuff. It’s a little bit harder to digest sometimes— it’s just so raw and psychedelic. It’s intense. Cotter [Michaels], our longtime soundman loves that stuff. It’s one of his favorite time periods. When I first joined the band, I liked the ‘80s stuff because that’s mostly what I listened to. Of course, Europe ‘72 was pretty instrumental in getting me into everything, but I wasn’t really familiar with Live/ Dead that much. Also, all the bootlegs that came from that time period were not really good quality, and I was interested in hearing quality recordings. But the thing about playing this music and being in this band is that when I did dive into it, I really learned to love it, just like I learned to love all the different decades. If there’s any era of the band I think we do best, it’s probably the mid-‘70s because we’re firing on all cylinders and we’ve got the whole band up there. When I first heard about Dark Star Orchestra many years ago, I was told that you would replicate the Dead’s shows down to the errors, which didn’t make sense to me. It didn’t seem feasible and that sort of approach also would run counter to the ethos of the Grateful Dead. JM: That’s a very common misconception about Dark Star Orchestra. I hear a lot that people say, “Oh, they even copy the mistakes.” No, we really don’t. We make our own mistakes, but anything that smells of an error, we leave that out. If it’s a really fortuitous thing that happens, we might pay tribute to it in some way, but we certainly don’t copy mistakes. RE: You couldn’t replicate a show note for note. It would take me a lifetime to learn a show note for note, even if I could do that, which I’m not sure I could. But why would you even want to do it? The whole point of this music is that it’s improvisation. If you’re copying, then you’re not improvising. If you’re thinking, you’re not playing. I’ve had this conversation many times with people, and this music is based on improvisation. The analogy I often give is that we’re painters and we’ve got this canvas. The frame of this canvas is the year, the setlist, maybe the arrangements of the songs and tonally what’s happening. Then everything that gets splattered on the canvas over the course of the evening is all the improvisations. The only restrictions are the arrangements from that time period and the order of the songs in the setlist. It was a common misconception because people say, “Recreating Grateful Dead shows.” Well, you can’t recreate a Grateful Dead show. You can play a setlist. So we go out there and play as we know how to play and let it fall where it falls. It’s really quite simple. Frankly, because we’ve been doing it for so long, I think we’re playing this stuff freer than we ever have. It’s definitely morphed into something a little bit different in the last couple of years than it was 15 years ago. What is the process of selecting a setlist? DE: Scott Larned was the person who would pick the shows when I first got in the band. The idea was to not play a lot of repeats from night to night, just like the Dead. We also mix it up and try to do different time periods each time we go to the same venue or the same area, so that people aren’t getting 1988 over and over again. It’s quite a jigsaw puzzle, and after Scott passed on, Rob Eaton did it for a long time. Then he wanted to step away from that, so it was kind of voted that I would be the right person to do it. It’s extremely time consuming and it’s something you do during your time at home. So many different aspects come into play. Something that people might not realize is that stage size matters as well because we can’t do an ‘80s show on a lot of stages—they won’t fit all of our stuff. It’s definitely a chore, but it’s also a fun challenge. Eventually, I met someone who offered to put together a database that allows me to search out a show that doesn’t have any repeats of a given night. That helps me narrow down the shows a lot easier, although I still have all the other factors I mentioned. I also might look for anniversary dates, which is a fun thing to throw in when possible, especially when it’s the same date in the same city. That just happened on the last tour in Chicago. We happened to be there on November 18 this year, which is when the Dead had played there, right across the street. All things being equal, do you prefer staying in the same era for a few nights or would you prefer to jump around from show to show? RE: I like jumping around, but what was really interesting is what happened when we went to Europe the September before last and we did nine shows that were all Europe ‘72 shows. We were repeating a lot of the same stuff every night. I think I played “Truckin’” every night, and there were at least seven or eight other songs that we played every night. I saw how the Dead progressed so quickly, how they moved through material and how the material changed. Just in playing something nine shows in a row, every night I was trying to play it a little differently than the night before, adding something different or approaching it differently. I could see from the first show in London to the last show in Rome, how I was looking at it differently, and that was only a two-and-a-half week span. So I think of the Dead when they were over in Europe for five, six weeks and how that material really morphed and changed from the first show to the last show. I understood how that happened because I had to play all those shows in a row. How do you approach the elective shows where you create your own setlists? DE: We do custom elective sets about one third of the time, maybe even a little bit more. It’s somewhat like what most Grateful Dead bands do, but we do it in the sense that we are familiar with all these different approaches to each song. It’s often modernizing the earlier stuff. For instance, we’ll play “Alligator” and Jeff will do it on his woolly mammoth guitar. [Mattson has a guitar that was built in the style of Garcia’s Rosebud guitar from 1990.] RE: The elective shows for me are by far the most satisfying and fulfilling for multiple reasons. One is there’s no roadmap, there’s no frame, there’s no order and there’s no arrangements. All those things go out the window and you can piece together a song from ‘69 into a song from ‘79. That’s something the Dead never did. So it opens up another way of looking at the music and constructing setlists with the freedom that we have. We take everything we know about all these different versions of the songs and make them our own to a certain degree. I have some arrangements of songs that we only do in an elective format. “Let It Grow” is a prime example. There are all sorts of different ways that Weir looked at “Let It Grow” from ‘73 on. So I took different parts of all those versions and made one version of it. That’s the one we play during electives because the Dead never had it arranged that way. So if we do “Let It Grow” in an elective set, then we all know it’s going to be that particular version, which has elements of ‘73, ‘76 and ‘87. JM: The elective setlists are written by me and Rob Eaton because we sing the lion’s share of the songs. Sometimes we might imagine what it would have sounded like if the Dead had brought back a certain song in 1989. It’s also a great opportunity to play some songs that don’t get played very often in the show, like “If I Had the World to Give,” which they only played three times. So when the ballad comes around, we might put that in or “Visions of Johanna” or something like that. You can do things like play something from one era that never got played with another song because they were from two different eras. You can also play things from the same era that the Dead never put together, like “Help on the Way” > “Slipknot” and instead of going into “Franklin’s Tower” going into “Foolish Heart,” “Feel Like a Stranger” or something else people aren’t expecting. We have to be careful that we don’t fill the show up with esoterica, though. I remember one time we were doing an elective set for Jerry’s birthday, and we wanted to celebrate with all this different interesting stuff that Jerry liked to sing. Unfortunately, some people in the audience were appalled because they didn’t know half the songs we played. So we try to avoid that. [Laughs.] Rob, you were a Dead taper back in the day, before the creation of a designated section. What are your recollections of taping during that era? RE: It was venue to venue, but we’d have to get pretty creative with how to get our stuff in. I did everything, including strapping a deck underneath a girl’s long skirt. The cables were wrapped around my waist and I’d make crutches out of mic stand pieces, then reassemble it all when I was inside. I also rented a wheelchair and had somebody sit on the tape decks. The cables were wrapped around that person’s waist and the stand was part of the wheelchair. Barry Glassberg, who was a dear friend of mine and a taper back in the day, looked like an accountant. He had his suit on. He’d come from work with his briefcase and the briefcase held all his taping stuff. Sometimes you’d grease the guy at the door—20 bucks just to get your stuff in. It was an adventure, and once you were in there, it didn’t mean you could stay in there if there was hardass security—like in Hartford, which gave us a tougher time than anywhere else. You wanted to be one of the first ones in, so you’re waiting in front of a door—usually one of the side doors, not the main ones. You’d try different doors, and if you didn’t get it in, you’d just put it in your car and then go in to watch the show. There wasn’t a scene outside back in the ‘70s or even the early ‘80s. Once the show was going on, it was empty outside. There were no Shakedown Streets and stuff like that. Is it an odd experience watching people tape your shows? RE: It’s someone’s hobby. There’s no right or wrong to anything. Someone enjoys going out and taping and putting it on their shelf and labeling it. That’s great. It’s what I used to do all the time, right? I did it mostly for the Dead, but I know people who used to go to all the clubs in New York and record every chance they got. It didn’t matter who it was. They just liked documenting something that they were at. It’s a hobby—setting up your gear and looking at the meters and all the other stuff. The members of the Grateful Dead have sat in with DSO over the years. Is there a particular moment that stands out? DE: The first time Weir sat in with us because he was the first of the Core Four that came in, and we didn’t really know that it was actually going to happen. It was at the Warfield in San Francisco for a Rex Benefit [on 4/13/02], and we had heard the possibility that it might happen. Then that afternoon, this amp shows up—one of his sit-in amps—and his guitar showed up, too. We were like, “Wow, this is looking like it’s going to actually happen.” I’d been in the band for maybe a couple of years at that point, so this was quite a big deal. When he strolled up onstage and started tuning up his guitar, it was like what I’d seen so many times before. Then he looked straight at me, like “Are you ready?” I gave him a nod and it was goosebumps. It was definitely a profound moment for me. Bob has always been very gracious, and I think he’s played with us five different times. Phil’s played with us twice, and the first time at the Fillmore was special. That was one where Phil turned and gave me the look in the eye. That was something. One time at the Great American, Weir was up there and Rob stepped off to let him do it. But before the very last song, Weir’s like, “We’re going to bring out Rob Eaton.” Then Rob gets up there, so it’s the two of ‘em, and Weir goes, “What you have here is too much of a good thing.” [Laughs.] You’ve been hosting your Dark Star Jubilee event ever since 2012. What does that represent to you? RE: The Jubilee was created as a family-friendly festival where you bring your own beer, recycle, respect one another. We’ve kept it small because we don’t want it to be this giant thing. If more people are there, then you get the nitrous mafia, then you get people stealing from tents while others are at the show. The Jubilee is our way of giving back to our community. It’s a way for our fans to connect with each other and go to a festival where they feel like it’s their own. Our fans have seen us grow up right in front of their eyes—they’ve seen us go from playing little bars to playing theaters. They were around for a lot of it, and they feel like we’re a part of their lives as much as they’re a part of ours.
    5 points
  30. I like the idea of Loser…Besides other connotations l like the total irony with ‘last fair deal in the country’ after paying over $500 for a ticket 🤣
    5 points
  31. Luke and I went to see the End of the Line Allman Bros tribute. I liked it better musically than Allman Betts family revival tour (although I enjoyed both). had a Buffalo Springfield for what it’s worth jam in blue sky and a spacey st Stephen jam in whippin post.
    5 points
  32. I had a great time dancing all night. I had some bad news earlier in the day, but I just danced those blues away. Thank you.
    5 points
  33. No time left for filler 78 beauty dripping with brilliance exquisite jams throughout my oh my thank you
    5 points
  34. It was everything a Sunday show should be, except undersold. The balcony was VIP so just one big room and they sold every square inch. Despite the storms around, heard they sold out. It’s not every show you launch from the first notes, but this one did just that. Me and BillK ended up in the middle of this group of 20 something’s from Santa Cruz. I gotta say, those skinny kids got some sharp elbows. Almost mosh pit like in there. During the feedback jam, the touch heads all left so space opened up. Show itself was fairly short so they had an hour left after the encore. Perfect selection of fillers. Letter to Maria a new one on me, but they rocked it out! Thanks band a crew for a great run!!
    5 points
  35. Hell yeah, we even spent some time on the rail last night! Place was slow to fill up, but eventually got pretty tight. The slope and the seats had lots to do with that. We carved out a small flat spot at the top and wore a few layers off the carpet. There were some gems in there last night but the closing sequence was a mind bender. Crazy Fingers, oh yeah baby, Jeff killed it. Not a sound from the crowd during the tender Dew moments. Killer place and crowd, thanks much to band and crew for laying it down!
    5 points
  36. . Jerry's first shows back with the dead after already playing eight shows at The Stone, Halloween at HJK and a couple of acoustic benefits. July 8 through October 3 was the time without. 88 days. Incredible recovery which included being part of a UC Berkeley class studying: Dionysus to The Grateful Dead with Joseph Campbell who went to his first dead show in 86 and compared to it to mythological celebrations where all boundaries are brought down and everyone is doing a celebration of life together regardless of class or profession. After lunch Jerry spaced with Mickey and others creating a music piece by generating industrial sounds that were in key with E, G, A, Dm and other music parts. He talked this in reference to the space jam. 90 min space created right before the four person panel discussion (Mickey, John Perry, Joseph Campbell, Garcia). This is a crazy fun show for DSO opening with Playing and then all throughout and space>truckin>Smokestack>Comes A Time ✓✓✓ this material has to have them firing on all cylinders, enjoy everyone!
    5 points
  37. Fox Theatre, ATL, GA 5/17/77 prob one of the best I’ve heard. Heard on Spotify. This song has deep meaning for me. If it does for you have a listen or post your best. Share some love!!!
    5 points
  38. Original Recipe Set 1: How Sweet It Is (To Be Loved By You) ; Cats Under The Stars ; Stop That Train ; Mystery Train ; I Second That Emotion ; Who Was John? ; Don't Let Go ; Tangled Up In Blue Set 2: The Way You Do the Things You Do ; Rubin And Cherise ; Mission In The Rain ; That's What Love Will Make You Do ; Strange Man ; My Sisters And Brothers ; The Harder They Come ; Stir It Up ; Lonesome and A Long Way From Home > Tore Up Over You Encore: Midnight Moonlight Notes: JGB Elective. Rob Koritz on drums. Rob Eaton out on medical leave.
    5 points
  39. Awesome time. Original recipe. Quinn opener. Broken Arrow, woman enough, and Birdsong/music/birdsong was a perfect set closer. 2nd set new speedway, uncle johns, st Stephen and holy shitballs death don’t have no mercy brought the house down. I’m missing a ton. Memory be damned
    5 points
  40. Awesome setlist, awesome venue, DSO doing JGB was a nice treat. Each song was jammed out pretty hard. So many highlights. Mission was flawless. They said Rob E. had to get off his feet for a bad sciatica. If DSO decides to come back and headline this festival again (2 nights) it's a no brainer. My first time there and it was pretty pretty good. If you look up chill in the dictionary there should be a picture of this place. Huge wooded area for camping. A creek/stream ran right through the properly, people were in the creek the whole time on inflatables jamming to the music, many hammocks abound, the preferred thing to do was catch a nap at some point during the day. Music on Friday 2:30p-4:00a and music on Sat. from noon-4:00a. They also had early bird shows Thurs night. Just impressed with the vibe, the bands, everything. Didn't see one security guard or cop all weekend, soo many vendors selling food, cloths, and pretty much anything you can think of. The best part about it was it's BYOB. As much as I like paying $22 a beer at places like the Peach festival for One beer, this is a breath of fresh air. Place was literally out in the middle of nowhere. Back roads for a while, just fields, mountains, and rivers then the venue. There's something about a DSO show that is smack dab in the middle of mother nature. I saw how DSO just threw a stage up out in Jackson Hole and rocked out on the edge of a mountain. This kinda had the same vibe even though we were down in a valley. Kudos to the band for making it an awesome weekend.
    5 points
  41. Tonight was killer. I had a lot more fun, felt acclimated to the altitude and spent the whole night down in the first few rows twirling around in circles 😄. After another short rain delay, the sun came out bright and hot. The band came out breathing fire right out of the gate, and the crowd really felt electric and fully into it. Lisa killed it on Strange Man, really enjoyed hearing Liberty and So Many Roads, it’s been a while since I’ve seen either song played. Skip started off on oxygen in Tom Thumb’s, love his substitutions in there and this one was great. The crowd was really into the “spent a little time on the mountain” line. Alligator was a lot of fun, and Mountain Jam was a nice treat. Was, of course, as always, hoping for the Dew, and it felt like its arrival was being foreshadowed throughout the second set with some of the 80s pre Dew songs. Gimme Some Lovin, Wheel and Watchtower had me feeling like maybe it could be coming and it was a surprise to get it out of GDTRFB. The Morning Dew was perfect with Jeff nailing the vocals with emotion. Skip was also killing it all night and was laying out the big bombs during Dew. Really enjoyed being down in front and watching the band when I was able keep the front of my body aimed at the stage, resting up tonight and hoping to drive to Yellowstone early tomorrow morning, that was fun😁
    5 points
  42. University of Iowa, Iowa City, IA (2/24/73) Bertha Mexicali Blues Brown Eyed Women Looks Like Rain Loose Lucy Beat it on Down the Line China Cat Sunflower I Know You Rider Jack Straw Here Come Sunshine El Paso Box of Rain Tenessee Jed Playing in the Band They Love Each Other Greatest Story Ever Told Row Jimmy Big River Ramble On Rose Me and Bobby McGee Truckin' Nobody's Jam Eyes of the World Sugar Magnolia Johnny B. Goode
    5 points
  43. Academy of Music, New York, NY (3/27/72) Bertha Black Throated Wind Chinatown Shuffle Brown Eyed Women China Cat Sunflower I Know You Rider Me and Bobby McGee Mr. Charlie Looks Like Rain Deal Hurts Me Too Cumberland Blues Playing in the Band Greatest Story Ever Told Ramble On Rose Big Boss Man El Paso Good Lovin' Me and My Uncle Two Souls In Communion Sugar Magnolia Loser Casey Jones One More Saturday Night Filler: * Rockin' Pneumonia and the Boogie Woogie Flu One Drummer show: Rob K. *Dino on Drums (filler) Shit got REAL in the 2nd set.
    5 points
  44. Comparing D+C to DSO is like comparing apples to skyscrapers - BUT - D+C have been playing their asses off on this tour. Songs were explored much more than usual and the tempo was way better than their typical cadence. Raleigh was a kick-ass show! Great energy and creativity throughout - danced all the way through - Drums and Space too. Met some really, really excellent people - my lot neighbors were the kindest there are ❤ Here's the setlist: (1) New Speedway Boogie, They Love Each Other, Mama Tried (complete with jazz/country space meltdown), Ramble On Rose, Dear Mr. Fantasy > Hey Jude Finale, Bird Song (w/ rainstorm) (2) Sugaree > St Stephen > William Tell Bridge > The Eleven > Aiko-Aiko > Drums > Space > I Need a Miracle > Wharf Rat > Casey Jones E: Black Muddy River Only 2 Bobby tunes although he sang quite a few Jerry's. If you got the ways and means, I would encourage folks to check them out! No, they ain't DSO by a longshot but they definitely do have something cookin on this tour!
    5 points
  45. Set 2: Help on the Way > Slipknot!> Franklin’s Tower Easy Wind Weather Report Suite > Let It Grow Cryptical Envelopment> Drums> Jam> The Other One> Stella Blue> Not Fade Away Encore: I Am the Walrus
    5 points
  46. But how was the show otherwise? This may be inaccurate but close: Jack Straw Mississippi Half-Step Uptown Toodeloo Black-Throated Wind Dupree's Diamond Blues Passenger Unbroken Chain The Weight When I Paint My Masterpiece You Ain't Woman Enough (To Take My Man) Tangled Up in Blue China Cat Sunflower > I Know You Rider Dear Mr Fantasy Playin in the Band > Drums* > Space* > Spanish Jam* > All Along The Watchtower > To Lay Me Down > Eyes of The World > Playin Reprise E: Oh Darling!, Werwolves of London *With Mikaela Davis
    5 points
  47. Wow - that Tweezer is nutso! It's more nuanced than I was expecting and the Shreddy parts were very well done. Thanks for sharing, DD! Still feels like the difference between sex and making love but I like both - just one more than the other. I've received solid advice on such matters
    5 points
  48. Thanks to all involved for the OT discussion. I enjoy learning from others’ point of view. I think I am most surprised by yours, Greg, in that you have never even LISTENED to a Phish song in your life. That in itself is fascinating to me. It’s easy to understand that some people just do not like them, and I also get a bit of the haters with an air of competition with the Grateful Dead (“there can be only one” mentality haha), but since I know how much you all love GD and the greatest band playing GD music today, Dark Star Orchestra, I would humbly suggest that you at least just experience some Phish for yourself. Not because Phish could ever “replace” GD/DSO, but because it is absolutely a derivative style whose primary influence is the music you so passionately adore. Same with me, of course. And caveat here that none of my views are intended to change anyone’s mind, but only to share in the event that someone finds it interesting. I make no presumptions with this thread (although I did know going in what MC’s view was, given his parenthesized comment in his thread about partners digging our music; I didn’t want to hijack that thread but it did prompt me to start this one. Thanks for that share, Tom.) Like many of you, I had neither time nor interest in Phish while Garcia still roamed the Earth in human form. I found their vibe sophomoric and I only have so much bandwidth for music in my day, and that time is either GD or JGB haha. I tend to be an open-minded individual, but was definitely a skeptic when it came to Phish. I had already been a huge Widespread Panic fan, so between the GD and them I was fully sated for awesome music. But in 1996 I did see my first Phish show, and it was a party. Different and therefore not as comfortable as the 93 Dead shows I attended lol, but similar. I agree with a few of you that have found more similarities with WSP fans and Deadheads than with Phish. I get that vibe as a general stereotype as well. But generalized stereotypes don’t always apply, of course. Over the years I have encountered plenty of kynd, like-minded spirits and proven Deadheads at Phish shows. Some of which are huge DSO fans, like us. So I saw a spattering of Phish shows in the late 90’s and early 00’s, then I got married and adulted for a while, only seeing GD-based bands, including of course DSO. I periodically listened to Phish but never took my time to attend their shows. An itch I didn’t feel the need to scratch, if you will. Fast forward to 2021, and for a variety of reasons,I did attend a show out here in PHX, 18 years after my last one. It was a much more developed sound and therefore experience. The band had obviously written new music and changed/gotten better (not to say that they weren’t talented all along in my view, because these are uber-talented musicians by any reasonable measure). It was thick and funky and the space hit right. So I subsequently deadicated more of my time to exploring their catalog, which obviously includes a vast span of live music, again influenced by the GD. So again with zero presumptions in place, I will tell anyone brave enough to read this far that this recent Spring Tour of theirs was fantastic. They played 8 shows between Seattle, Berkeley, and Los Angeles. I went to the six California shows. Berkeley with a dear old friend who happens to be a long-time taper that some of you may know. Hollywood with a guy is as close to being a brother as you can get without being related. Needless to say, we partied and boogied hard (albeit quietly in the taper section haha). The following videos are from the Greek, one from each second set. If you have a 4K screen and some way to get loud, I suggest you do so. The Tweezer is 44 minutes and goes into Simple for another 19 or so. These are not simply spectacular because of their length, but if you want to see how they have transformed, buckle in. These songs are over 30 years old and they do have some of that goofy lyric thing happening (they are not Gamehendge, however). But these both have jams that get to be QUITE different and are anything but playful. Strongly recommend anyone here to party this Tweezer->Simple this weekend. If you have not heard Phish lately, prepare to be surprised. If you only watch one of these songs below, let it be the entire Tweezer. Around the 25-minute mark is not bad lol. The next offering is Fuego, a newer tune relative to the first two. This also goes places, swampy and funky places. From night 3 is Set Your Soul Free into What’s the Use? If you are going to experience this, settle in for the entirety with an open mind. None of this is Help/Slip/Frank, as no one else can ever supplant our first (only?) true love, but this is some quality and interesting music that is akin to GD in many ways. And I think I’m reasonably qualified to say that this is not some ordinary “jam band”. Interested in any reflections on any of what I’ve shared, and obviously these recent examples of what Phish is up to. Peace DD
    5 points
  49. 83/03/30 Warfield Theater, San Francisco, CA Bertha>Promised Land, Dire Wolf, Cassidy, Peggy-o, Mama Tried>Mexicali Blues, Must Have Been the Roses, Minglewood Blues, China Cat Sunflower>I Know You Rider. Touch of Grey, Brother Esau, Might As Well, Playin' in the Band>Drums>Space>Women Are Smarter>China Doll>Playin' reprise> Sugar Magnolia. E: US Blues. last China Doll 81/07/10 [110] Second of three show benefit run at the Warfield. First shows that Grateful Dead had mail order for tickets. Last Grateful Dead shows at the Warfield. Opening three of the second caught my eye. #12 Touch, #5 Esau, the last second set Might As Well. I would imagine the tour heads of the day hoping for Cosmic Charlie were not pleased. Conjured thoughts of the Victim, Blow Away> Foolish letdown at Buckeye 1988. Over time my opinion of all three would drastically change. Praise DSO.
    5 points
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