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John A

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John A last won the day on January 17

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About John A

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  1. John A

    SF #2

    Filler was Brokedown. Perfect choice. I think the band was on another level vs Friday. On paper, my preference is for the elective that takes turns exactly like Friday. But shows aren't played on paper. Saturday night had an extra notch. Clear and crushing highlights include, but are not necessarily limited to, Shakedown (completely nuts), I Know You Rider, Terrapin, Truckin', and Black Peter. Friend of the Devil was beautiful. Fun show. It was good to run into sml. I hadn't seen him posting so I wasn't assuming he was on tour. No such worries; it's just that his laptop died. ☹️
  2. John A

    SF # 1

    Show got kicking out the gate with the Jack Straw -> Mississippi and didn't let up. My highlights were Like A Road (nicely dedicated by Eaton to Gloria Jones), Mr Fantasy (just before the final jam Skip went crazy; he hit a couple big bombs then proceeded to essentially do a duet, constant bombs in tow, with Rob B while Rob B was simultaneously working the big jam with Jeff...making Rob B a busy man!), and Morning Dew, which saw a very respectful SF crowd. Through Jack-A-Roe I was sure we were square in 1977. Then Tom Thumb's announced the elective, and soon enough things had turned 80s with some perfectly placed JGB tidbits. Very nice.
  3. John A

    2/7/2019 Seattle Showbox

    Crew - I don't think there's a good audience on Met Dome '86. My source is a Sony stereo mic, which otherwise went away by the late 70s as far as an audience taper's tool. Otherwise it's just shotguns. Maybe shotguns are better for such shit venue sound, but I can't listen to shotguns for more than a few minutes. Even worse, the only board that circulates is a partial show. Not that one should really want to relive Summer '86 with Dylan / Petty frankly. And especially not Minnesota. The "Jerry is dying Part 1" tour.
  4. John A

    2/7/2019 Seattle Showbox

    Yes! I had that too. I want to say it was called "The Rose" and it's 8-28-81. Such a beautiful Wheel jam into Never Trust A Woman/Good Time Blues. Hot Shakedown too.
  5. John A

    2/7/2019 Seattle Showbox

    That's actually a curious one. Per the Grateful Dead Song Finder, David Gans says Brent gave this song the title "Good Time Blues." But both "Dozin' At The Knick" and "Nightfall of Diamonds" list it as "Never Trust A Woman." But these were both released after Brent had died. And of further note, the record in the Library of Congress from the copyright application lists "Application Title: Gonna See Some Good Times" Looks like this is one where neither title is a wrong answer.
  6. John A

    Eugene

    That is one hell of bizarre 2 encore sequence, Saturday Night and Miracle. I wonder what precipitated that.
  7. Upon further examination, the real prize of 2-26-77 might be the Playin' -> Wheel -> Playin' to close the 1st set. Masterful stuff!
  8. John A

    Standing on the Moon

    HelpFrank - there is a studio version of Days Between. It was from the sessions for the unfinished final album, and it was released on the box set called "So Many Roads (1965-1995)". So if you're really wondering what a studio version would sound like, seek that out. (Spoiler alert: actually, I'd recommend that you don't bother,. The live versions, such as they are, are more emotional and moving.)
  9. John A

    2/7/2019 Seattle Showbox

    Well, I didn't leave but I will second your friend's sentiment. This was indeed the worst sound, by a long shot, that I ever experienced at a Dead show. I recall the only exciting moment being the mid set Iko. I was even with the soundboard about 1/2 up the lower section, so not great not not exactly horrible seats. There's an FOB Schoeps tape that sounds at least somewhat passable, so the sound was apparently better in the sweet spot. But still. Horrific venue and a totally flat show. Santana opened, and this was the only show I ever saw where the opening act outshone The Boys.
  10. Thanks for that pic, Rob...that's crazy. I listened to the 2-27 Dew again tonight, a couple notches higher on the pre-amp. Double wow.
  11. Rob - what a find and what a gift that anything whatsoever was salvageable. Amazing. Of course on the flip side, what a crime that the music on those reels, as great as it is and as beautifully as it was recorded, could have fallen into such abuse. I guess at the end of the day we should just thank our lucky stars that it was recorded at all.
  12. I've been digesting the new Dave's release, the famous '77 San Bernadino show. The Terrapin opener, put into the context of history, has to be in the running for the most powerful show opener in GD history. This is the first show of 1977, and the band had spent the past weeks in the studio working up material for their next album. This turns the Terrapin bustout on its head; typically they would season a song in live performances prior to taking it into the studio, but in this instance they unveiled what is arguably their magnum opus in fully polished form in front of what must have been 7,500 slack-jawed Heads. Minds were undoubtedly boggled. I recall first getting the Betty board in the late 80s and being dumbfounded at (a) how good it sounded, and (b) how that Terrapin could have been unleashed like that, out of nowhere, to open the show. There's only room for so much sonic improvement with this release, but it does indeed sound great. The filler, however, is another story. It's reel 5 of 5, the only one that survives, of the next night at Robertson Gym on UC Santa Barbara's campus. And it contains Morning Dew, which for the 1st time can be experienced via Betty's handiwork. No board whatsoever had previously circulated, leaving Rob Bertrando's audience recording as the reference source. I think of it as the "lost '77 Dew." Post hiatus, Morning Dew had been played twice in the Fall '76 tour and again NYE '76. But it was the '77 versions where it really spread its wings. There are 5 Dews in '77, 3 of which are very well known (interestingly, all 5 of these Dews, with the exception of Barton Hall, come out of Terrapin). The '77 Dews: 5-8 Ithaca of course goes without saying, 5-22 Pembroke Pines was released on a Dick's Picks and is part of the famous Garcia 4 pack (Eyes>Rat>Terrapin>Dew) to close the show. 6-7 is part of a 3 night Winterland box set. While 4-47 Passiac is less well known, it's been circulating on a decent board source for decades (it's somewhat truncated vs the others, but Jerry cheats no one on the final flourish). That leaves 2-27 Santa Barbara. Having turned off the lights and opened up the big stereo last night, essentially experiencing it for the first time, I'm convinced this reading is up there with any of them. It's plenty drawn out, quiet when it needs to be, manic when it needs to be, and features lots of great Garcia/Lesh interplay. Wow! A couple footnotes...the Swing Auditorium was hit by a twin engine Cessna in 1981, killing both people aboard the plane and putting a hole in the arena's roof. Couple that with the damage from the subsequent fire, and the place was torn down. There's a newspaper article on the show included in the release which is very positive, noting that the Dead were far from done and had established a unique place in rock history. It touted the fact they weren't resting on their laurels and were debuting new material, including the song "Estimated Property". I got a kick out of that.
  13. John A

    Standing on the Moon

    The 6-10-90 is not one of those extended Jerry vocal flourish versions. Just a generally perfect reading followed by an inspired guitar solo. The '93 Eugene version has perhaps the most intense guitar eruption of the year. I recall him being almost sideways as he lit into his strings. Jeff Silbeman and I made an outstanding recording that day, which I finally transferred last year. Check out that Standing: https://archive.org/details/gd1993-08-21.141530.S2.FOB.AMS.ST-250.Silberman.Ammons.Noel.t-flac1648 Plenty of folks did tweaky stuff when recording the Grateful Dead, but using an open reel 4-track Nagra 24 bit digital deck to facilitate an ambisonic capture (which encodes a full 360 degree soundfield using all 4 tracks)? That's gotta take the cake! Hearing those recording on a properly set up ambisonic playback rig was just ridiculous. That said, even this conversion down to 2 channels is pretty damn impressive.
  14. John A

    Dead Characters - 1 @ a time (Part 2)

    And the prisoner, and the singer.
  15. John A

    Standing on the Moon

    The greatest Standing is Cal Expo, 6-10-90, but it must be played via Sean Weber's spaced Schoeps omni recording for full appreciation. And loud, on a big system. Literally takes you right back to a summer Sacramento evening..
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