Grateful Dead

I think a realistic examination of these shows, based purely on merit, is in order. The timing of this release, so close on the heels of “Crimson, White, and Indigo,” is a little bit questionable. I completely understand why they will continue to release all the prime stuff from the 89-90 multitrack shows - it’s mostly excellent in both quality of performance and sound, and I've bought many of the releases. The aforementioned “Crimson, White, and Indigo” did raise some questions about the mixing going on, which were legitimate, although it was still a good release. Now, many people here debate the overall merits of late-era Dead. I’m sure that debate will rage on, and with good reason. As for myself, I can see both sides. I came to the Dead at a very young age in 1988, and I’m glad I got on board when I did, if for just a few brief moments. I'm also glad I caught the tail-end of the Brent era. I will always have a fondness for this time period, but I understand those who say it was really all downhill after 1974. Setting that aside for the moment, I wanted to comment on this release. Does it really merit such deluxe treatment? Maybe, maybe not. I was a little surprised to see these shows rated #3 and #1 on Deadbase for 1989, I really don’t think they’re worth that type of rating. I know it’s based on the epic revivals of “Help On The Way>Slipknot“ on the 8th and of course “Dark Star,” “Death Don’t Have No Mercy,” and “Attics of My Life” the next night. But how good are these shows, really? First of all, there’s no doubt in my mind that they should have done a best of, compilation 1st set disc, a la “Dozin’ At the Knick,” released quite a few years ago (which, incidentally, is one of the best releases of this period, in my opinion). The first sets of these 2 shows are simply not that great, and you’re going to end up with two discs right there that you essentially paid over $10 apiece for and you’ll rarely, if ever, listen to them. I think this was done to preempt the inevitable outcry that would’ve arisen if they’d chopped up these shows, but seriously there was good reason to do so. The first night, October 8th, gets off to a nice start with a good rendition of “Foolish Heart,” which in my opinion is a very good song and one of the best Hunter/Garcia collaborations of the later years. Then Bob throws in a decent “Walkin’ Blues.” But “Candyman” is badly botched by Jerry’s blown lyrics and a messed up MIDI transition that totally kills the whole thing. Bob then leads a pretty good “Me And My Uncle>Big River” which generates some sparks but starts to meander towards the end, then Jerry offers “Stagger Lee,” which isn’t nearly as good as the one from “Truckin’ Up To Buffalo.” Next, “Queen Jane” is fine, but nothing special. Now, the “Birdsong” is good. If this was a compilation 1st set, this would’ve definitely made the cut. A ho-hum “Promised Land” closes out a pretty mediocre 1st set. Kicking off the second set, “Help On The Way>Slipknot” had been missing for 5 years, and it makes a welcome return. It’s a pretty good version, but nothing spectacular, and the whole thing kind of gets off-kilter and threatens to pull apart at the seams before they ease into “Franklin’s Tower.” This performance of “Franklin’s” is actually quite good. Jerry gives a very inspired vocal performance, really nailing the lyrics. I know many fans found it endearing when they would blow the lyrics in concert, but in hindsight, and in listening back, it is cringe worthy at times. They simply blew the lyrics far too often to songs that they’d been singing for years, if not decades. I think this was due in part to the adventurous way they performed, making up setlists as they went along, and not entirely the result of apathy or drug-induced stupor (in Jerry’s case). However, it was pretty bad at times, especially during the later years. So, after a nice “Franklin’s,” they let the momentum die for some reason, perhaps due to technical problems, but too much time goes by and then they launch into “Victim Or The Crime,” and you can almost hear the collective groan out of the audience. This was a very dark, depressing, inexplicable song that Bob would force everyone to endure from time to time, and the question is, did anyone really enjoy it? But play it they did. There is almost a sigh of relief from the crowd when Jerry starts strumming “Eyes Of The World” after that, but to be totally objective, this is not a great version. It suffers somewhat from vocal lapses in the chorus and generally humdrum playing. Out of “Space,” we have a series of brief songs, all fairly concise and well-played, if a little choppily strung together: a fiery “I Need A Miracle” with kind of an abrupt transition into “The Wheel,” with another rough transition into “Gimme Some Lovin’,” and finally a rousing “Morning Dew” to close it out. In my opinion Jerry tended to cut off the buildup at the end of "Dew" too early in the later years, and nothing ever matched the performances of 1974 and earlier. The encore is the sweet lullaby, “And We Bid You Goodnight.” Overall, a decent show, but is it really the #3 show of 1989? I just can’t see it (or hear it). I will post my thoughts about the following night shortly.

Thanks for the insights, Blair. Rhino's cool in my book. Who remembers the rumors way back when that Microsoft was gonna buy the vault? Personally I like the bonus discs. Random release request: SPAC June 27, 1985. Random question: the New Years shows in the 80's were always huge events...why have none of those been released except for Ticket To New Years (1987)? Just because high-Q recordings circulate?

Ha, I don't remember anybody complaining in 1972 (OK, I was only 5 so I wouldn't remember if they did!) when the Jefferson Airplane released the Long John Silver LP in a "cigar" (yeah, right) box. On an unrelated note, the Grunt promo poster for that LP featured actor Rip Torn dressed as a pirate. Yes, the same Rip Torn who was recently arrested for breaking into a bank in a drunken stupor.