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John A

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John A last won the day on January 19

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  1. Wanee

    Wow that set list shows DSO entering another realm regarding the nuances of electives. On paper, here we have "mid 70s elective in the style of the late 60s and early 70s." Makes the head spin.
  2. Savannah 4-17

    T for Texas is a verse in the so called "All New Minglewood Blues" (as opposed to the New Minglewood Blues which dates to 1966) that The Dead recorded for the Shakedown Street album which was recorded in late summer of '78. So presumably T for Texas was in live versions by then. Rude, now that you have a little more spare time, and every version of Minglewood at your finger tips, your assignment is to listen to them sequentially starting from 4-16-78 and report back as to when that verse appears.
  3. 4-13 Charlotte

    Well there is that. Which makes such a game less fun. Because then you know it's an elective 1 note in.
  4. 4-13 Charlotte

    That's a sneaky 1st set. Nothing to preclude it from possibly being an early 90s show, and then they open set 2 by dropping the Stephen bomb! Nice.
  5. Charleston 4-12

    Son of a bitch that set list is off the charts. Would be hard to craft a list to hand to Jerry that would be any more satisfying than that. Palm Sunday trivia: It was played twice, on 3-18 and 3-19-78, both times on Palm Sunday. That's because the 3-18 encore started after midnight!
  6. Asheville 4-10

    I think what we have here is just an unfortunate choice of vocabulary on your part, Steph, as "junkie music" does feel like it has an unnecessarily bad connotation. That said, I think I know exactly what you refer to. Although I prefer to call it "narcotic tinged". When I think of that reference I'm usually thinking specifically of circa '79 through '82 JGB, where Jerry might play sets with as few as 4 or 5 songs that would all stretch to 15+ minutes. Much of this music is undoubtedly informed by his heroin use at that time. Bottom line: at the end of the day, anyway you slice it the passion shown on these forums is both wonderful and infectious.
  7. If Pig was still alive

    I think what folks are forgetting here is that while Pigpen was still healthy he, along with Weir, were actually kicked out of the band for a brief period due to the perception they were falling behind the rest of the group's musical evolution. There's no crystal clear timeline or narrative to this, but in late summer/early fall 1968 they were fired! If it was Pigpen's band in the days of the Warlocks and the initial transition to being the Grateful Dead, you had better bet it was Garcia's band by 1968. A good essay can be found on this subject here: http://deadessays.blogspot.com/2011/03/1968-firing.html
  8. If Pig was still alive

    Hey - I even recall actually saying that! Mojo - good post. What it doesn't account for, however, is that while Pigpen was still at a reasonable facsimile of his peak blues self the Dead were already evolving, and at an incredible pace. Garcia was ultimately the front man even by '68 when the psychedelic stuff came into full bloom. The band was in full 40+ minute Dark Star bloom in Europe '72, while Pig still commanded 3-4 songs a night. I'm not convinced that even in full health he'd have been more of a presence than that. What would almost certainly have happened is there'd have been no major evolution of Weir as blues man. Personally, I wouldn't have lamented that.
  9. Atlanta 4-6

    Speaking of Lucky Old Sun, check out Jerry's final "wash all my troubles away" vocal explosion from that 9-1-89 version. Goose-fucking-bumps.
  10. Summer Tour Dates Up!!!!

    btown, Bourbon not only provides an acceptable substitute for scotch, as rude will undoubtedly agree with me it's worlds more interesting. I hope that your parents enjoyed the show!
  11. Here is to a good night in c-ville

    Is it safe to assume one or more of those tunes in the JGB show were DSO bust outs?
  12. Greek Theatre 7-15-88

    I wrote this little essay for another web-based project and figured I'd share it here.... Greek Theatre, Berkeley CA (7/15/88) Set 1: Shakedown Street->Walkin' Blues; Friend of the Devil; Queen Jane Approximately; Dire Wolf; Good Time Blues; Cassidy->Bertha Set 2: Scarlet Begonias->Fire on the Mountain; Women Are Smarter; Ship of Fools; Estimated Prophet->Rhythm Devils-> Space->I Need a Miracle->The Wheel->Gimme Some Lovin'->Morning Dew (Encore:) Turn on Your Love Light Here we have the first night, and I would argue the best night, of the penultimate Greek Theatre run. I have some personal history with this run: I missed it. I was in the process of relocating from Upstate New York to the Bay Area, and the plan was to do so right after the East Coast summer tour such that I could get out west in time for the Greeks. That plan hit a painful bump in the road about three weeks earlier in Pittsburgh with the onset of a horrible toothache. After soldiering through the Saratoga and Rochester shows, I learned that I needed my wisdom teeth out ASAP. The upper ones were impacted, coming out mercilessly in little bits and pieces, and I was on the couch for days. No way the Greeks were going to happen. My story has a happy ending as I made it to Northern California, where I’ve lived ever since, for the Laguna Seca shows. And these three Greeks also had a happy ending for those fortunate enough to attend. But I digress - back to 7/15. I think I’d be able to get behind virtually any show with first and second set bookends of Shakedown, Bertha, Scarlet>Fire, and Morning Dew. That’s just plainly a collection of some of my all time favorites. And none of these selections disappoint. As can happen to open up a run, the show gets off to a somewhat rocky start for the first couple verses of Shakedown, but it settles into a nice funky groove. From there The Boys play a tight first set. Good Time Blues, and you don’t hear folks calling that one out specifically all too often, might be the perfect latter era rendition (I do adore the second set versions in ’81). Jerry has some subtle yet animated finger work, and Brent plays it just close enough to the vest. There’s no gratuitous profanity in this reading. I relish encountering Bertha in a non-opener slot, and this one is nice and energetic. Although I always wince when Garcia misses “ran into a rainstorm” as he picks up the third verse, which he sadly does here, otherwise it’s pure power. Beyond the beginning of Shakedown, those may be the only dropped lyrics. Worth specific discussion are Garcia’s vocals, which may have been at their absolute peak in the summer of ’88 and are impressively strong throughout this night. He was still in a place of healthful living coming off his diabetic coma two years earlier, and he had enough tours under his belt that he’d shaken off any lingering rust. Set 2 opens with a slightly uneven Scarlet>Fire. Scarlet is a bit truncated, and Jerry does a little mumbling in a couple of the verses during Fire. Nonetheless, Fire features some very fine and singular grooves. I’m invariably excited about Ship of Fools when Jerry is singing at the top of his game, and this one doesn’t dissatisfy. From here, Weir gets some good licks in with Estimated and Need A Miracle, which is followed, I believe for the first time, by The Wheel. Great as The Wheel was easing its way out of space, I like being surprised by it in a non-standard slot. But the real mind blower is Morning Dew. July of 1988 was a watershed month for The Dew. There are no less than 4 outstanding versions; Alpine Valley (late June actually), Oxford Speedway, The Greek, and Laguna Seca. This night is the best of them all. Garcia sings it with about as much emotion as he can muster, rivaling what he achieved in Oxford, Phil’s loads are enormous yet controlled, and the final jam goes at it just a bit harder than a late 80s rendition has any right to. Utterly thrilling stuff! They end the night with an atypical encore of Lovelight, one of only a handful of times it appeared in that slot. As for what source one should go to, I just took my first spin with the newly released Ultra Matrix and, as most Ultra Matrixes are, it’s a fine listen. For those without a system that throws a big spacious soundstage and can handle the most tortuous Phil loads, this may indeed be the way to go. However, my preference is Sean Weber’s spaced Schoeps omnis, using his Apogee modified Sony PCM F1, just behind Healy in the taper’s section. In fact, I’d go so far as to nominate this recording as a candidate for the greatest OTS pull ever. Strong words, I know, but the taper’s section at The Greek was in an optimal spot, especially for spaced omnis. Bass control FOB was sometimes hit or miss, as the lows often seemed to overload in that Greek bowl for whatever reason. Sean’s recording is wonderfully open, the low end of Phil’s bass is about as satisfying as it comes, and Jerry’s vocals are strikingly present. This is what it sounded like being at the Greek Theatre. Play it loud, as they like to say in these parts, but if you choose the Weber then do so at your own risk, especially during Morning Dew!
  13. Well lookie what we have here - an upcoming, apparently tell all book by former San Fransisco Chronicle music critic Joel Selvin chronicling the surviving members post Garcia escapades. For those of you not around the Bay Area press over the years, Selvin, while showing some degree of appreciation for Garcia's greatness, was not much of a fan of The Boys. http://www.marinij.com/arts-and-entertainment/20180322/fire-and-fury-in-grateful-dead-land
  14. Bad acid trip

    I believe that would be called a "Hot Carl" and I'm not sure why I'm willing to publicly admit knowledge of said term.
  15. Bad acid trip

    Generally when in conjunction with an LSD experience you read the words "while naked and covered in feces" things have not gone well. https://www.sfgate.com/crime/article/Former-MLB-pitcher-gets-2-3-million-for-12768558.php