![]() ![]() ![]() He spoke about sending the lyrics to the group in an interview: I moved out to New Mexico to be an artist about the time the Dead really started. The finale of an extended, playful Sugar Magnolia followed by a brilliant Eyes of the World, leaves the audience on an extremely high note and any listener smiling big.China Cat Sunflower was one of the first two lyrics provided by Robert Hunter for the Dead. The Spanish Jam after a marginally brief Other One, is quite significant and magnificent. 12 is an example of him being a little too full of himself and not doing the right thing, IMHO.īack to this show. ![]() He did wonderful things with the Archive, of that there is no doubt, but Vol. The integrity of both shows were trampled by his desire to create a single show from the two. ![]() Speaking of Dick's Pick 12, despite the quality of the recording, I believe Dick overstepped his bounds when he meshed together 6/26 and 6/28. It's cool, unique, creative, but in no way is it at the level of transcendence. On Dick Pick's 12 it's called "Mind Left Body Jam", which is a crass overstatement. What's very interesting and notable to me is that the transition between the two songs is definitely an Uncle John's Jam, but I can't find any reference to it. The clarity and power of Phil's bass is evident throughout.Īn admirable first set powers on, leading into a notable Weather Report Suite-Let It Grow.Ĭhinacat-Rider has a different quality than than what might consider the norm. An old school 4+ hour show right smack in the middle of The Wall of Sound period '74. true was muddy,but i listened to that tape often,thinking,wow,they did that in providence?ĭespite "Sit Down" jerk, this is a testament to the audio perfection sought by a true blue Dead tape head. and this truckin' i really like,as do i like the classic first set, the excellent let it grow,the short dark starish jam before china/rider,the meandering china/rider,the short punch of the other one,the classic spanish jam,and of course the eyes encore.so good.-which brings me to how i first encountered this tape.Ībout 25 years ago a good friend came over to make a copy of my, i think Hartford 3-19-90,and he brought a cassette to put it on,saying it had some muddy recording from some 74'show and he wanted to tape over it.well i put the tape in and gave it a short listen,dialed up the equalizer,fast forwarded and listened some more,pulled the tape out of the deck and said to him ,muddy though it was,"dude, i've got a blank you can have,I'm keeping this".and i still have it,the second set.actually, i think we had a discussion, like: "are you sure you want to record over this?i mean its muddy,but this is good" - "yea,? i don't know?" "where is this?where's it from? - " i think its providence" "WHAT!,this is providence! no way! we can't record over this,i'll keep it and make a copy and give this back to you",which i did. I can go on and on this was definitely one in my old tape collection I'd put the headphones on and get right in the zone.įirst let me say this was way before my DEAD time.on this actual day i was 6,and my mom had probably taken me and my younger brother and sisters to the beach for a happy beach day.and i had absolutely not the faintest inkling of what was about to occur 45 miles upstate.-now, I'm happy with my age and who i am,but seriously,damn i wish i got to see this. The long intro in China is something I've never heard them do quite like this ever. You really feel like you're involved and you're there sharing the experience, not to mention the playing is fantastic. The Wall of Sound was meant to project out the audience and recordings like this give you that great warm feel that was intended and getting the audience involved just completely makes this one I can listen to over and over. And especially during this period of 73-74 (which is my favorite time for the band), the soundboards are SO dry and tinny sounding especially the vocals going through those instrument mikes. I now have come to prefer a nice warm sounding audience recording or a well done matrix over a dry sounding soundboard any day of the week. Granted a lot of the older audience recordings were pretty rough Jerry Moore was a genius at getting it just right for the time period considering this was long before a taper section. This was an audience recording that blew my mind, way back when we all wanted soundboards. ![]()
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