Grateful Dead

Grateful Dead Live at Nassau Veterans Memorial Coliseum on 1973-03-19by Grateful Dead https://archive.org/details/gd1973-03-19.141309.patched.sbd.mr.miller.f… Publication date 1973-03-19 Topics Soundboard, Charlie Miller Collection GratefulDead Band/Artist Grateful Dead Resource DeadLists Project Set 1 Promised Land, He's Gone, Mexicali Blues, They Love Each Other, Looks Like Rain, Wave That Flag, Box Of Rain, The Race is On, Row Jimmy, El Paso, China Cat Sunflower-> I Know You Rider, Around & Around, Tennessee Jed, Playin' In The Band Set 2 Loose Lucy, Me & My Uncle, Brown Eyed Women, Big River, Mississippi Half Step, Stella Blue, Jack Straw, Truckin'-> The Other One-> Eyes Of The World-> China Doll, Johnny B. Goode, E: Casey Jones Notes Notes: -- Nobody's Fault But Mine jam in Truckin' -- Two sets of masters were used to make this show complete -- Thanks to Rob Eaton, Matt Smith and Dick Latvala for the recordings -- There's a 2 second patch in PITB (13:09 - 13:13) patched with shnid=123987 -- All reels were Dolby decoded -- This file set is 16 bit Performance: The Grateful Dead Dead send off Pigpen (September 8, 1945 – March 8, 1973) LENNY KAYE Posted Apr 26, 1973 12:00 AM It had to happen: even the Dead have gone glitter. Resplendently suave in Nudie-type sequined suits, the group appeared on the stage of this comfortably-sized Long Island arena as formal gentlemen, playing before a sold out and devoutly clamoring Monday crowd who nonetheless held true to their flannel shirt and dungaree colors. The music was consistently superb and was delivered with a professionalism and class that might even be taken for granted were it not so historically precarious, caught as it is in the double bind of massive anticipations and internal complexities, good nights mixing inevitably over the bad. Still, instead of wrestling with the hyper-reactions of their audience -- as was once the case -- the Dead have resigned themselves to that unquenchable factor, even to the point of enjoying it, learning ways in which it might be manipulated and controlled. Their technique here involved pacing -- stretching out the four hours of their pair of sets so that the crowd moved with, rather than against them. The long breaks between songs served the dual purpose of relaxing the audience as well as the band. The audience had been warmed early in the evening by the pedal steel dominated sound of the New Riders (replacing the Sons of Champlin who opened the first two nights of the stand), high-pointing with "Willie and the Hand-Jive" and a lovely country version of Billy Joe Royal's "Down in the Boondocks." Producer Bill Graham also was on hand, nostalgically tussling with the crowd. "I know this is Long Island," he said at one point, attempting to gain breathing room for those unlucky souls piled up in front of the stage, "but let's try it anyway." No one budged and, of course, Graham threw up his arms and stalked out. The Dead came on to the usual mass eruptions, played a quick western shuffle and closed it off before Garcia took even the glimmerings of an extended lead. They moved deliberately into "He's Gone," Jerry leaning to the microphone in the evening's only apparent reference to the recent death of Ron (Pigpen) McKernan, reeling out the final chorus: "Ooooh, nothin's gonna bring him back . . ." The improvement and strength of the group's vocal harmonies was readily apparent; no more do their voices quaver up and down the scale trying to find the right series of notes. Joined by Donna Godchaux, the blend registered chorally near-perfect, if a shade eccentric. The group then opened into their repertoire, which has become so large as to be in the main unrecognizable. Alternating between Bob Weir and Garcia, the band offered such things as a sharp clicking rendition of "Mexicali Blues," matched by "Looks like Rain" (perhaps Weir's finest composition), "The Race Is On," Marty Robbins' "El Paso," and finally, the first semi-oldie of the night "Box Of Rain." Instrumentally, they were in high form, Phil Lesh bottoming well, Bill Kreutzmann hale and hearty, Keith Godchaux wrapping piano fills around Weir's and Garcia's tone-perfect guitars. It was the longer songs that got them into trouble, but not by much. "China Cat Sunflower" began the launch into what has become the Dead's extended trademark, and as they took it in a roundabout way to "I Know You Rider," it seemed as if the night was sure to be tinged golden. But later, over the hump of "Around And Around" and "Tennessee Jed"'s sing-a-long chorus, it proved to be a false start. The big song of the set, "Playin' in the Band," never quite caught the handle they were searching for, gears touching but never completely in mesh. The rest of the night belonged to Garcia. Returning from a short intermission and several filial descendants of "Cumberland Blues," he forcibly led the band through a combination of old and new material, capped by a beauteous ode to a woman named Stella Green. A long jam around "Truckin'" was successful in parts, as was a follow-up slice from "The Other One," and with the band now beginning to group around Kreutzmann in a semicircle, concentrating on making contact, they finally got what they wanted in a long, jazz-oriented piece I'd never heard before, the sound very free, gunning and spooking each other in a continuous upchurned spiral. They left the stage after "Johnny B. Goode," all those hours of playing not diminishing its strength. To call them back, the audience set off a few matches in the orchestra, a few more responding along the balconies, expanding outward until the whole inside of the arena was lit by matchpower. The Dead returned with "Casey Jones," responsive puffs of smoke rising from the banks of amplifiers, the band chugging along as a revolving mirror-ball refracted minispots around the audience. [From Rolling Stone Issue 133 ó April 26, 1973]

March 19, 1966http://gratefuldeadoftheday.com/03-19-1966 Carthay Studios Los Angeles, California Grateful Dead at the Pico Acid Test - 3/19/66 From http://gdlistening.blogspot.com Track List: 1. Viola Lee Blues 2. One Kind Favor 3. I Know You Rider 4. You See A Broken Broken Heart 5. It's A Sin 6. PA Complaints 7. Beat It On Down The Line 8. PA, Etc. - Stage Banter 9. Heads Up (Instrumental) 10. PA, Etc. - Stage Banter 11. Next Time You See Me 12. Ice Cream Break 13. Stormy Monday Jam 14. //Death Don't Have No Mercy 15. In The Midnite Hour// Total Time: 66:20 The next installment of the Merry Pranksters trip was the Pico Acid Test held at Carthay Studios in Los Angeles. Their house band, the Grateful Dead, were of course on hand for the event. The actual date of the recording is, like much of 1966, up to some speculation. The tracks circulate as both 3/12 and 3/19. For lack of an exact date and with the stage banter and PA problems, I felt as though the show is probably 3/19 at the Acid Test. Listen for yourself and let me know your opinion! The Dead on this night were on. The "Viola Lee Blues" to begin the set is intense, and is a great introduction to live versions. If it is a harbinger intense jamming, I am quite excited to experience more of Viola Lee's! Jerry's roving guitar riffs during the song reminded me of Bear Stanley's initial reaction to hearing Jerry play. He said that he felt overwhelmed by the experience because of, "Garcia's guitar, which seemed to come out of the universe and try to eat me alive" (McNally 118). The quick, wild quality with which he plays brings to mind a bridge to another universe. Another interesting note of the show is that it contains the only known performance of Pigpen's song "You See A Broken Heart," according to David Dodd (Dodd 12). Download as 3/12/66 at https://themidnightcafe.org/2016/10/31/lossless-bootleg-bonanza-gratefu… Grateful Dead Pico Acid Test Danish Center Los Angeles, CA 03/12/66 Download: FLAC/MP3 Source: ??? > CD > EAC > CDWave > SHN This is flac encoded & tagged version of shnid: 1593

One From the Vault can be had at around $60- a damn good price for vinyl. Volumes 2 and 3 run around $80-100 each. I just found the Houston 11/18/72 show (a Bear recording of most of the second set) for $35 on Barnes and Noble's website, but if it's out of stock, you can also grab that from discogs for about $50 +shipping. I love vinyl, but it gets expensive and fast. Anyway, happy listening. Just finished 3/19/77- just love it.

Thanks for the heads up on the Hampton 79 show. Your own comments, combined with everyone else's silence, suggest that this is one show to avoid. I like the idea of those FTV shows on vinyl, too. The reviews on Amazon for the first are really good, so I will have a look and see how available it is. And how much it costs.

Very good point thin.. First, I find myself mostly in agreement with danc.. it is one of the last truly great/epic songs coming out of the cannon. As for tedious.. I always used the term 'strung-out' to describe your point. When it was on, it could be spellbinding or more simply put great. I have seen a few versions where it just went on forever without achieving lift-off, Garcia stuck in a transfixed stare at Persian carpet during the jams, barely lifting his head to rest his nose on the microphone for the lyrics, than back to the same transfixed stare and repeat for the next 19 1/2 minutes. Still.. my overall opinion is it's a great song and usually a treat or a high point of the show so take this as a mostly positive comment with some dark edges between the layers. I hope that's fair enough to say. It's been a while since I listened to 3/19/77.. so I am taking some good advice and getting my daily medicine from the wise Old Chief Smokem.

I know many might have a bit of '77 fatigue after the GSTL box and Dave's 25 (which I love), but this one is worth a listen today. Great show from start to finish. A unique jam out of Eyes and the same with Dancin' in the Streets. Just a beautiful listening experience. Enjoy! https://archive.org/details/gd77-03-19.sbd.chinacat.255.sbeok.shnf/GD77…

https://www.youtube.com/embed/XlyCLbt3Thk?rel=0

...is derived from the I Ching, yes? Mercy, the punishment must fit the offense, or.... what? I regard the song as a voice (Hunter's?) speaking about values, rewards, maybe particularly American but maybe not. Could Hunter have been alienated by the band's evolution to arena scale music act to the point of calling out "playin' cold music on the barroom floor". Regardless, for me it was the last A+ Grateful Dead song, as great as any.

Ah, 9/2/78 - Dick says that's the best Scarlet Fire ever. He must have been wowed by the new verse. Mercy's in mercy's a - this voice translator's been dogging me all week.Thanks for the feedback guys.

Not to be persnickety but the FOTM lyrics are not "if mercy is a business, I wish it for you", they are "if Mercy's in business, I wish it for you." May seem small but it chnages the meaning completely. I always thought it was a comment on the dualities of the music business when you become successful enough at a business to have clout/income but comes at the cost of potentially losing tru musical/personal freedom. Those sentiments always came up with the Dead as they got bigger into the 80's especially with Jerry having to carry the weight of the organization. I remember at one point people close to him said he hated being 'that' guy. The one whose shoulders the yoke always fell on, I always got the impression Jerry knew he benefited from the success but certainly found no mercy.