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    heatherlew
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    "The Grateful Dead picked up their instruments and hit the first note with perfection. They never missed a note for the next three and one-half hours. People followed the flow of the tunes. Down on the floor in front of the stage was a sea of heads keeping time with the music. No one sat still. No one, except the youngsters behind us sat still. They were still and stunned." - The Power County Press

    And what a stunner it was, that show at the Boise State University Pavilion in Boise, ID on September 2, 1983. Dave's Picks Volume 27 contains every stitch of music from this mid-80s show (our first in this series), one that's as good as any other in Grateful Dead history. When the Dead were on, they were ON! Straight out the gate with a definitive take on the old standard "Wang Dang Doodle," the band swiftly switches back to a setlist of yore, firing off 70s staples like "Jack Straw" and "Brown-Eyed Women" and wrapping things up with a terrific trio of "Big Railroad Blues"/"Looks Like Rain"/"Deal" (don't you let that epic guitar solo go down without you). Primed for the second set, they tackle the complexities of "Help>Slipknot!>Franklin's" with heart and ease. It's clear there will be no stopping their flow - Bobby and Brent hanging in for a fantastic pre-Drums "Jam" and Jerry and Bobby in the zone on a not-to-be-missed melodic "Space." Not a skipper in the whole lot!

    Dave's Picks Volume 27 has been mastered to HDCD specs by Jeffrey Norman and it is limited to 18,000 individually-numbered copies*.

    *Limited to 2 per order. Very limited quantity available.

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  • unkle sam
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    9-2-83
    Just had a listen to this show yesterday. I like the way Wang Dang Doodle starts and slowly builds to start off the show, makes you think something really cool is about to happen. A lack luster first set except for the opener and that great Deal at the end. Second set not so hot either, the pre drums is kinda muddy, the drums is short and goes no where, the space is nice, but really doesn't build to anything either, the post drums with a "new song" delivered like a single, Throwing Stones gets so much better in the late 80's and into the 90's. All in all, I give this show a C average and certainly not the "stunner" it is advertised as. Sure hope the next pick is better than this one. I don't know if any of you were around in the 40's, I wasn't. But I think you can trace Rock and Roll all the way back to then, or even the 30's, or maybe the roaring 20's, hard to say. Of course, back then it was "Heathen" music, "Black" music and a thing that you kept your young children away from, "no son/daughter of mine is going to listen to some muggle smoking darkie music". Segregation was in full swing back then and Rock and Roll was a thing to be feared. It was, after all, youthful rebellion which happens in every generation, that put rock and roll on the map, back then, if our parents hated it, we loved it. There were a lot of us in the 60's and music meant something back then, it was our call to arms, our mantra, we actually thought that music and love could change the world. I'm not a historian nor do I know exactly when rock and roll got it "birth". Glad it did tho, sure was an uptight world full of lies and hate back then, wow, I just got a feeling like I've been here before. I think someone said that they had been following history for X years or some thing like that, gee, they should know ;) But can you believe them? Most that were around then are gone or are so old that they just can't remember, and I can relate to that, memories are very subjective and history books can be distorted, or rewritten. I have had a conversation or two with my 93 year old mother-in-law who was a music teacher all thru the late 50's, 60's and 70's. When she is able to, she remembers rock and roll as a bad thing, one that was openly discouraged and frowned upon, until that "nice gospel singing hill billy" came around. He was "so nice, and good looking too". But that was rock just finally being accepted, not the birth of.
  • daverock
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    Mr Heartbreak
    Thanks for the film clip of Bruce Cockburn. Some beautiful guitar playing-in fact the whole band is good. I've never heard Bob Dylan play like that!
  • garciaddicted
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    Rock 'N' Roll
    "I’ve stolen every lick he ever played", Keith Richards on Chuck Berry "The Shakespeare of rock 'n' roll", Bob Dylan on Chuck Berry "No group, be it Beatles, Dylan or Stones, have ever improved on 'Whole Lotta Shakin'' for my money.” John Lennon
  • frosted
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    Everybody knows who created rock and roll
    Hey hey with the Monkees! What I find odd though is that I cut my teeth on R&R in the late 60s and into the 70s. Back then, we called the 50s the oldies. Elvis, Jerry Lee, Fats Domino, Bill Haley, Buddy Holley, Chuck Berry, Little Richard, Eddie Cochrane, all those guys seemed ancient to us. Thinking about 30s and 40s music back then? Fuggettaboutit. What was that even? Musicians wearing suits with skinny ties, and huge brass bands with our grandparents swirling around the dance floors all dressed up? What gets me is that now the 60s and 70s are more than twice as long ago for today's kids as the 50s were for me, and that seemed pretty far back at the time. So the circle squares, and now I listen to more jazz from the 30s-60s than I do rock and roll from any era, the GOGD being one of the few exceptions. Get off of my lawn!
  • simonrob
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    This is not the place
    for intellectual discussions between non-intellectuals.
  • kyleharmon
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    you all need more Unicorn
    you all need more Unicorn Jesus in your lives and less of this Devil rock music.
  • Angry Jack Straw
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    Good Lord
    Such nonsense. My cat can cut and paste. Stop it. Dave. You disappoint. No knowledge of Bruce? I posted about him during the worthless doors/who tripe.
  • Angry Jack Straw
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    Good Lord
    Such nonsense. My cat can cut and paste. Stop it. Dave. You disappoint. No knowledge of Bruce? I posted about him during the worthless doors/who tripe.
  • Oroborous
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    Dear Butch, DS and Keithfan
    Sorry, I thought we were having a intellectual discussion about opposing theories, not trying to insult one another. So since I now feel insulted. I also feel I have to defend my self..... Please find Butch’s comments in quotes.... “Nobody even said the Beatles invented Rock n roll or coined the term, only that they brought it to life in front of the world. “ So the millions of folks for all the years before the Beatles did not enjoy RR, because it hadn’t yet been brought to life? Even though they did have some success; album sales, performances and quite a bit of airplay, RELETIVELY speaking? Because your statements could be interpreted that RR was such an underground, insignificant thing that not until the Beatles did it become well known? or “given birth” To me that’s an insult to all the men and women who actually made RR, long before the Beatles came along.... “The bottom line is that our generation DID witness the birth of rock and roll, and yes you can use the concept of birth, it's an appropriate form of symbolic language called personification. It's laughable that THAT part of the dicussion even came into question.” As I’ve politely stated, I agree with most of KF’s fine, articulate essay, just not this part. I’m imho, based on reading dozens of RR biographies, the only thing wrong with this is you could say all the same things about Chuck, only on a smaller scale...due to technological and cultural circumstances he had no control over. i understand your point just fine. You don’t need to insult me. Sorry to all you folks if this seems like I’m being snarky etc. Not trying to be, actually having a bit of fun participating in a verbal chess match, mental gymnastics, intellectual discourse etc. Used to stay up and party hard and do this sort of thing about authors, music, movies etc when I went back to collage in my thirties..... “The biggest reasons the Beatles gave birth to it, is 1)they were original,” And Chuck wasn’t? “2)they brought their brand to way more more people, WAY more people,(70 million people, come on now)” Never debated that, if you actually read my post, I ponder whether album sales and/or popularity alone is really a true distinction of what makes one relevant or not. I don’t believe album sales alone is. And comparing album sales from completely different technological and cultural times is like comparing apples to oranges....I’m sorry i obviously did not articulate my point well.. I don’t think that’s a fair, objective measure. “3)they influenced most of the bands that followed after (as well as the popular culture at large).” I have openly agreed with this statement throughout....? “Nobody else went on Ed Sullivan 1st and ushered in a movement in rock pop music. None of their predecessors did that.” Unfortunately I don’t know that much about the show, but I don’t believe in the fifties, a black man, with subversive lyrics was going to get a fair shot at a show of that prominence? I do think I recall reading that they did not want RR, but they felt they needed to make the show more current, to generate ratings, and because RR was already so prevalent in society, they needed to get with the times.....but please don’t quote me on that.....my memory is deteriorating rapidly... I also believe part of the reason Chuck received the airplay he did get, was many didn’t know he was black by his “sound” Another way for the suits to take “race music” and make it popuar with whites, so they could cash in. “They took what was out there, made it their own and in doing so TRANSFORMED rock and popular music. The bands that came after helped continue the movement,” Again, I’ve only supported this sentiment. But I also believe you could say the same, in a different way, about Berry et el... “but there's no question the Beatles brand came first.” This is where we disagree. Again, it’s an insult to all those who were oppressed and struggled through the early years of RR, so that eventually it was legitimized enough so the Beatles could explode and change the world! Kinda like the big brother or sister who breaks in the parents, so the younger siblings have an easier time.... “Millions of people latched on to to the Beatles, not Haley or Berry. “ So again, numbers are your criteria? Apples to Oranges.... “It was their mold that came first and endured” Not unless they had a time machine....sorry, that was snarky. I apologize! “Chuck Berry still hugely important and I love him to death, but he didn't do what the Beatles did” Never said he did. I repeatedly acknowledge that the Beatles were perhaps the greatest band of all time, influentially at least, if not more.... “that wasn't his role. His role may have been even better in the history of rock and roll as he influenced so many. That's not what this discussion was ever about. This discussion was about whether or not our generation was here to witness the birth of rock and roll.” Again, I understand perfectly what this is about. I’m sorry that because we disagree you feel I don’t understand your point, so much so that you have to insult my intelligence.... “The one excellent point I agree with is that Bob Dylan brought a brand that was equally important, but I don't think you could credit him with heralding in the rock movement.” No, not in and of itself, but one could argue that his innovations also had a unmeasurable influence on RR. Perhaps one of the few that came close to the Beatles level of influence? “Oborious, yes Chuck Berry was important and influenced many, but same thing, he wasn't the Beatles” Never said he was, only that he is constantly not given the credit myself, and more importantly, most of the RR elite all state in their books that he deserves, of which being credited as the true Father of RR is one. I believe Rolling Stone said something similar in their tribute to him? I’m sorry, but most of my personal belongings, including my RR library are currently in storage or I would stay up and provide references. . “You seem to be personally offended by all of this,” Not at all. I truly apologize to you, as well as everyone if that’s how this is coming across. I just think your making a generalized statement that ignores a huge block of actual history, which insults those who made it. By doing so, I don't think your theory is logical. “as you are making statements like what if Chuck has been white or what if Elvis wasn't in the right place at the right time. The discussion is about what is not what might have been or could have been. If the queen had balls she'd be king.” How can you not consider what America was like racially in the fifties, and how that would effect the success or failure of a black person? And to compare what a Fearless Black man did, during that repulsive time in our history; actually “give birth to”, basically a whole new cultural scene, and making it popular (sounds familiar?), with a group that did all the great things they did, in part, because of the foundation people like Mr Berry laid for them to build upon, only by comparing popularity or numbers? That’s like saying Miles Davis gave birth to Jazz with Kind of Blue, while all his predecessors, from decades before, did not? “I think where people are getting stuck in this dialogue is that they're feeling like the birth of rock and roll on the world scale should go to (pick your name) instead of the Beatles. There is no single person or band who invented rock and roll, but the Beatles did give birth to it in the larger world, and that was the only point that was being made along with the fact that we were here to witness it.” Sorry, agree with everything except the term birth. I have never disputed the rest. birth bərTH/Submit noun 1. the emergence of a baby or other young from the body of its mother; the start of life as a physically separate being. 1. give birth to (a baby or other young). "she had carried him and birthed him" “A physically SEPARATE being....” Your argument presupposes that the Beatles would be the parent, that gives birth to a new being... Mine presupposes that Chuck was the father that gave birth to the new being. The Beatles were that being when it fully matured, and became an adult force of nature....that went on to conquer the world, in part because of the DNA of the father.....now I may not be right, but I don’t think that’s so hard to follow is it? “V guy you're absolutely right the sensitivity scale is just beyond words. But one thing that is clear if you read through this discussion thread is that words our being misinterpreted even after clarifications are made. It's like there's no effort being made.” Touché my friend, no need to insult. Just because we don’t agree doesn’t mean I don’t understand, and that you need to insult me. You say “potAto”, I say “potaahto” And finally (I promise no more outta me anyway, hopefully I’ve made my point. Not looking to be “right” just properly understood. I don’t think you can fairly critique ones argument if you don’t properly understand it) So finally, I'd just like to state I’m sorry if I’ve bummed folks out. That was never my intent. Especially no bad vibes toward Keithfan. I thoroughly enjoy his articulate posts, and usually agree with like 98% of what he says. Think maybe I’ll just go away for a bit......”you know this space is getting hot” Peace!
  • snafu
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    Mr. Ones and FZ
    We can now shut down this site Mr Ones you have sumed up everyone here no matter what our other disagreements " Music is the Best"
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"The Grateful Dead picked up their instruments and hit the first note with perfection. They never missed a note for the next three and one-half hours. People followed the flow of the tunes. Down on the floor in front of the stage was a sea of heads keeping time with the music. No one sat still. No one, except the youngsters behind us sat still. They were still and stunned." - The Power County Press

And what a stunner it was, that show at the Boise State University Pavilion in Boise, ID on September 2, 1983. Dave's Picks Volume 27 contains every stitch of music from this mid-80s show (our first in this series), one that's as good as any other in Grateful Dead history. When the Dead were on, they were ON! Straight out the gate with a definitive take on the old standard "Wang Dang Doodle," the band swiftly switches back to a setlist of yore, firing off 70s staples like "Jack Straw" and "Brown-Eyed Women" and wrapping things up with a terrific trio of "Big Railroad Blues"/"Looks Like Rain"/"Deal" (don't you let that epic guitar solo go down without you). Primed for the second set, they tackle the complexities of "Help>Slipknot!>Franklin's" with heart and ease. It's clear there will be no stopping their flow - Bobby and Brent hanging in for a fantastic pre-Drums "Jam" and Jerry and Bobby in the zone on a not-to-be-missed melodic "Space." Not a skipper in the whole lot!

Dave's Picks Volume 27 has been mastered to HDCD specs by Jeffrey Norman and it is limited to 18,000 individually-numbered copies*.

*Limited to 2 per order. Very limited quantity available.

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As I have already posted a few times, this release sounds way better than the hissy, muddy cassettes I used to have. So, compared to the hissy, muddy cassette recordings of early 80’s shows that I used to have, I will give this recording a 10. And no, I am not that stupid. Not that stupid to try to compare the sound of a cassette master to that of a multi-track recording. Especially Eur 72 which was professionally recorded with the intention of creating a commercial release.
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Appreciate your Bird Song feedback. I went back and gave them all another listen. The Dave' s Picks 11 is my newest and you are so right about the solo at the 3 min mark. Jerry just bends that one note over and over and then gets to work. As if to say 'you guys ready'? It's difficult to imagine them playing this in a darkened arena after watching them perform on the Sunshine Daydream Veneta movie. I also keep going over Berkeley to see if the soloing is as good, but I inevitably get so lost in the gloria of it all that I forget I'm supposed to be evaluating. Such is life. Icecrmcnkd I'm sorry but the audio here is a 1 or 2 out of 10 compared to the best sounding recording released. It's a 1 because there are none worse or few at best. That's a cute game you played calling it a 10 by comparing it to unpeofessional releases (wink wink).
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The problem with recordings that are superior is that you hear every little nuance and note ... This is my opinion only... In ref. to Dave's 27, The band sounds Ok but I'll probably never listen to this set again as Jerry's vocals are barely acceptable. and in some cases painful to listen to.. . 1983 brought Jerry a crappy demeanor on stage and a huge heroin habit and it certainly shows in his performance... Take any pre heroin show from the beginning of the band and listen... There is clearly no comparison from the psychedelic era thru cocaine and up until heroin... Anything before his addiction is superior in every way and i wish they would stop releasing sub standard shows. There are too many good ones to put this in the category of great shows...
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What shows from 1983 did you have on cassette that sounded better than DaP 27?
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Yes, for only 11 minutes long, this is a very concise yet perfect Birdsong. Not only is the beginning of Jer's first solo great (the slinky "get ready" bends you mentioned), but check out the 2nd guitar solo at 9:15~... Jerry starts with a few building licks over several measures (once again, kinda of a "are you ready?...) until he reaches a peak, THEN resumes the soaring, bending "bird in flight" thing all over. I've said it before, but if you showed Mozart the general gist of "Birdsong", THIS is how he'd map it out: each part of solos seem to logically connect to the next.... intro>body>conclusion. Despite the fact that it's not long, never goes too far "out there", and the energy is controlled and deliberate, this version is simply stunning. Kind of like a perfectly mapped-out studio version that they executed live, flawlessly. One of my favorite GD tracks of all time. But I'm curious to hear your answer to icecrmconkid's question.... If this recording is a "1" out of 10, What '83 releases or other early/mid 80's recordings do you feel are better?
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Not saying it’s one of the best. But it is one that I always liked.
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“A subscription business is perhaps the most reliable and predictable form of revenue” I’m ready to subscribe to Dave’s Picks 2019!
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Are there any bad Bird Songs out there? This is one of those songs were it got better over time, in my opinion. 7/26/87 is great. Loser & Cassidy both also got better over time, in my opinion.
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Nice, balanced post on your review of DaP 27. Just thought I'd say it, 'cause it hit a lot of the same chords I was feeling after a few listens.
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Hmm, so basically releases should be just pre-hiatus? So the 30-yr GD legacy is really about the first (less than, actually) decade? If the Dead were just a 9-year band, I would've stopped listening long ago. This is from Blair Jackson's Garcia bio: "Despite Garcia's plainly visible malaise, the Dead played better in 1983 than they had in 1982. In fact, they improved each year through the first half of the '80s, as if Garcia's deteriorating physical condition almost didn't matter." Of course we know he gets busted in Jan. 85 and (presumably) starts cleaning up. BJ continues, "The Dead's tours that summer and autumn [of 85] were unusually strong, with especially varied set lists, crisp and purposeful jamming and a higher level of energy onstage than anyone had seen in quite a while." No question, that summer of 85 is hot. And 89-90 is some of my absolutely favorite years. But so is 83-84, more so the more I listen to them. There's a sort of rushed (or is urgent the right word?), yet raw, 80s psychedelic sound. At the risk of hyperbole, it's the best, most energetic and raw sound since 73- so in nearly a decade.
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Agreed. But the recordings generally stink compared to the 70's offerings. Your comment totally ignores this fact. For each quote from someone saying the 80's had some great shows, there are 10 more quotes from Dick, Dave, and yes Blair Jackson questioning the 80's recordings' viability as official releases. Do you want to add some of those quotes to balance your comment, or should I?
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No, I agree with you. And some of those patches are definitely sorta cringe-worthy. But as someone mentioned: they also highlight how much of a general improvement the sounds quality here is. Dave spoke (in the liner notes) about the "unfortunate at best" recordings from June 83 or in his words, "magnificent full shows for which no usable recording exists." My response was more so to snoone about the quality of the 83 performances (not the audio).
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Can we stop with the name calling? Let's assume nobody here is stupid and even if they are, the "smarter" ones should be smart enough and classy enough not to call them stupid. I've always agreed with the basic premise that all releases sound better than the cassettes I had. Maybe some people knew Betty and got tapes directly from her, but I got from a buddy, who got from unknown people that he met at shows. Is the recording of this show better or worse than others, of course. But I also go with the assumption that the "official" releases are the best available out there. True? I don't know, I just assume that. I'll take all official releases, it's the anal completist in me. On this release I like the Looks Like Rain, this is the closest to the greatest Rain ever done (4/16/83 Meadowland, NJ). Don't believe me, take a listen, Garcia's on fire in the last minute or two, his notes hit like raindrops at the moment it goes from a drizzle to a downpour. And Weir yelling is in perfect form (can't take no more fuckin rain today) https://archive.org/details/gd83-04-16.sbd.miller.28294.sbeok.flacf/gd8… Don't agree, then you're a fucking idiot :-) (notice I didn't say stupid :-)) I agree with whoever below that I seldom will listen to a whole show, but listen to "parts" and there is ALWAYS a good part. Finally, where is Jim (JiminMD), I'm assuming on vacation, but I still worry.
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I'll second that, Dennis. We're also not discussing the fate of Western civilization, we're discussing a band- a band beyond description?
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Agreed - but '83 had more great MOMENTS or sets than complete, great "shows". Brilliant peaks followed by lotsa murky valleys... Jerry's '83 uninspired heroin drenched brain, morbid obesity/lack of stamina and voice, and general grumpy-cat staring-emptily-over-my-belly-at-just-the-tips-of-my-wallabees-over-my-glasses-teetering-on-the-end-of-my-nose demeanor made "inspired complete shows" mostly a thing of the past. But there are some amazing '83 nuggets for sure. The '83 TTATS show (10/21/83 in Woostah!!!) is a goody! I attended 10/15/83 (my 2nd show) with the St. Stephen and the RIPPING Big RxR Blues, but honestly much of that show (generally considered one of the years best) plods along unremarkably. Kinda like watching Sinatra in his later years - yes some inspired moments and glimpses of the old charisma (being reaaaally generous on the charisma based on my comment that ends my first paragraph), but from an execution standpoint just a shadow of their former glory.
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I just mentioned my second show, and Dennis (the guy asking for an end to the name-calling - what a stupid idiot ;) then mentions my first!! 4/16/83 with Looks Like Rain. This was one of my favorite songs and I was so happy they played it. But even as a 15-yr old newbie watching from center-ice, 8 rows up on the left side, I knew that they weren't "on" this night (LLRain WAS good, but I loved this song too much to be objective). 4/17/83, the next night, was better though sadly I wasn't there. I was HUGE into CSNY at the time and was stoked to see Stephen Stills sit in. Quite a first-show treat. Then my 2nd show I got the Hartford St. Stephen - the Gods were smiling on me, making sure to set the hook hard. And it's still there, though I really haven't listened to much Dead for a few months... breather....
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First I want to once again thank you guys for the hard work and great care obviously put into the Dave's Picks Volume 27 release. I appreciate the release on a historical level, as there are not many early 1980s shows in my collection. With that said,I had to take a break from East Coast shows between fall 1980 through 1984. My first show in a while, and I believe it was in October 1984 at Brendan Byrne in East Rutherford was a bit of an upset. In those days, there was a ticket service called Ticketron, and I bought a ticket on the day of the first show,rented a car, and drove out to Jersey.The seat was right to the side of Jerry, and was stunned when the band came out by his physical appearance, and demeanor. This was not the Garcia I last saw at Nassau in May 1980. Something was wrong.Don't need to elaborate any further, but with that said I think this release is important in context that it reflects the changes happening with the band in regard to live performances.In the end, glad to be a subscriber, and appreciate every release! Hope everyone enjoys the rest of the summer...
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Don't believe the hyperbole either way. This show is not the best show with amazing sound and definitive versions of songs, but it is also not a terrible show with awful sound that is unlistenable. My opinion is this: I like receiving a show from an otherwise little tapped era; the sound is not crystal clear like many 70s or late 80s recordings but it is much better than the Alpine 82 Dick's Picks and the Spectrum 82 Road Trips; and the performance is generally just fine-- again, not definitive, but good enough. In brief, I like adding this show to my collection. Songs that stuck out as good versions to me on this recording: I love the Wang Dang Doodle opener and the Jack Straw that follows is good enough. I always like Minglewood and the Deal closer is a scorcher. The Help-Slip-Frank is solid (not better than any in 76 or 77 though), I think the Estimated is lackluster and the Eyes is rushed. The jam and space segments are interesting. The jam in Throwing Stones I will describe as 'Chaos.' I am not sure what is happening there-- I haven't listened to early versions of it, so maybe this is the norm for the era? Regardless, that 'solo' is just noise to me. Maybe another listen will reveal more. The Black Peter has some really rough vocals. I agree with Slow Noodle, two Black Peters released in the past year run circles around this one. Jerry's vocals are pretty bad here. BP is not my favorite tune, but the version on Berkeley 72 made me sit up and take notice-- just an exquisite version, beautiful and perfect in every way. This one, not so much. I will probably listen to this show sometimes and as I said earlier-- good to have a decent show from an era without many releases.
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Yet another reminder why I can't get into that band. Happy for all of you do enjoy them tho'
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Thank you for the sober, well written post. Your objectivity tells me your opinions are likely reliable. Any post that is all positive or all negative tends to just be unreliable noise by era hard-liners with an axe to grind. Era rhetoric gets absurd, sometimes comical.
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Seriously, what's with all the name calling? Taste in anything is subjective, especially when it comes to music, art, film, etc. It's all about how the music resonates with the individual. If it makes you feel good, then it's doing its job. Again, Jerry's often quoted licorice analogy comes to mind. Some dig black, some dig red, some dig both, and others don't dig licorice at all. The need for validation through a sense of sameness is one of the primary causes of human discontent and unhappiness. Just because you don't see it or hear it the same as someone else, doesn't make them wrong or stupid, etc. Personally, this show is like nails on a chalkboard to my ears. That doesn't mean I don't appreciate its historical relevance, nor does it negate anyone else's overall appreciation for it. I'm on this site to experience different perspectives, find out about shows that I'm unfamiliar with, and learn things about the Dead that I may not already know. But the immaturity and insecurity of name calling honestly kills the vibe for me. Just saying.
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worth your time also 4/19/82
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they eventually adopted the Samson and Delilah chord-y thing, but early versions had the type of jam you hear on 9/2/83. not sure when they started the S&D chords. sometime in 84? opinion alert: I happen to like the the more chaotic jamming approach than the S&D chords. 1000 opinions in Deadheadland it's very similar to a political thing: one person's president is another person's lying sack of shit. 9/2/83's great! 9/2/83 sux! and the band keeps playing on
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Unless you think I called someone a hyperbole, I don't think I did any name calling-- hope that wasn't directed at me, SkullTrip. I guess I was trying to say that there will be haters and lovers of the show, but on a whole for many of us, this show is adequate.
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94 and 95 rocks shirdeep. phish should put that phil lesh show out sometime. why not? they put out the one out where Weir played with them, on Dead songs on the recent fall tour
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6 years 9 months
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Not sure why that would even cross your mind, Estimated-Eyes. Guess I should have been more specific though. I'm responding to people being called "stupid" and "assholes" for various reasons in the thread. Just seems juvenile and unnecessary. And thanks, Thin. I take that as a compliment, idiot that I are.
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16 years
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The Grateful Dead was not just about good music thats why I think you get mixed reviews on shows and you can't compare shows from one era to another. You know The Dead probably thought they made enough music over the years to make everyone happy, but I don't think they succeeded when you read these threads.
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11 years 4 months
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Thanks for taking a joke from this asshole in stride. Well done. I had a colleague who used to pipe up in meetings after someone (usually me) had voiced an opinion or question, half under his breath, with perfect comedic timing: "idiot..." Yes it was funny every time.
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15 years 1 month
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Which Dave's Picks has the best sound quality? Top five. I'm not familiar enough with all of them to make a list but would love opinions.Last 2 I listened to have good sound. DaP 18 76 Orpheum (though Bob's guitar is missing.) DaP 13 74 Winterland. Thanks.
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6 years 9 months
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All good, brother. I live my life for the punchline and tend not to take things personally. Just how I'm wired. So your post gave me a solid chuckle.
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11 years 4 months
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I don't think the real problem here is this show, whatever its (obvious) flaws. It's that this is part of a subscription series, and the fact that it's getting such strongly negative reviews demonstrates that it's definitely considered by many to be a subpar show FOR THIS SERIES. If this just came out as a release that anyone can buy, any time, I wouldn't care. I would have listened to the sound clips, and probably wouldn't have bought it...even though most of the shows I saw were square in the middle of this era. But because Dave's Picks are set up as a 4-releases-per-year subscription series, I got this as a result of subscribing. Here's my experience with this release: When announced, I felt a little thrill. "Oh, an 80s release. Maybe the tiny but very vocal minority who bitch about EVERY SINGLE 70s RELEASE will finally chill out a bit. Maybe, when the next Pick after this one is back to the 70s again, they won't complain" (I won't hold my breath.) But I was glad I'd be getting it. I watched Dave's entire seaside chat, and began to feel some trepidation. When he admitted he is prone to hyperbole, then declared that the Dead really made Wang Dang Doodle their own here, I started to worry. Anyone who hasn't heard it, check out Koko Taylor singing that tune. Then listen to Bob Weir sing it. You have to admit, it's a white boy trying to sing the blues, and Koko has more soul in her little finger than ol' Bobby has in his entire body. I love Bob, but gimme a break. I get the discs. Wang Dang Doodle is actually not bad, though you can hear Jerry's vocal struggles right out of the gate, even on harmony. Then Jack Straw, which is pretty much a train wreck. It's mainly downhill from there. A few bright spots, but many rough ones. I've already posted about this show, so I'm not going to go through a song-by-song critique. But this performance is the kind of thing that could clear a room if your guests have overstayed their visit. I wonder how many of the last, say, five releases before this led to words like "disappointing," "cringeworthy," or "awful" in their respective threads on the board? Remember, these comments are coming from Deadheads, not just civilians. Releasing this is not the problem. The real problem is foisting this on subscribers, who already shelled out good money for it without knowing they would get it. When I heard the combination of shaky performance and subpar audio, I was dismayed; by the time I got through the multiple audience patches, I was INSULTED. Like I posted before, I was relieved when I finally got through disc 3. I've never had that experience with a Dead show - I avoid the bad recordings and performances in the archive, and skip what I don't like in my own collection. But I needed to at least make sure the discs didn't have any skips. As a Deadhead, the relieved-it's-over experience was a jarring one. I could see a couple tracks from this making it onto a Road Trips-type compilation, or as filler for something else, but I don't think it was release-worthy. I'll still most likely subscribe again next year, but if I got 2-3 in a row like this, I wouldn't subscribe again. I work for myself, so I can pull the trigger in real time on a la carte releases, and that's what I'd do.
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If you don't like it, sell it. Someone will buy it. It doesn't really make sense to complain about being forced upon a release because you subscribed. If you sell it as new, you can probably get more money than what you paid for it, if you want. Other than that, its just impatience. Variety is the spice of life and this band probably offers more variety than any other band ever! Think about that and be grateful...then just wait for one you do enjoy to come down the golden road.
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Grateful Dead/Dead & Company guitarist Bob Weir will embark on a fall tour with bassist Don Was and drummer Jay Lane under the moniker Bob Weir and Wolf Bros. Weir, Was and Lane confirmed 19 dates spanning October 16 – November 18. The new band will explore songs of the Grateful Dead and more in a trio setting. Bob Weir & Wolf Bros will kick off the tour at Grand Sierra Resort & Casino in Reno on October 16. From there, the trio will visit Los Angeles, Santa Barbara, Portland (Oregon), Seattle, Missoula, Salt Lake City, Albuquerque and Denver ahead of a Halloween show in at The Chicago Theatre in Chicago. The tour continues with stops in Nashville, Louisville and Syracuse along with a two-night stand at The Capitol Theatre in Port Chester, New York. The three-piece will perform at Washington, D.C.’s Warner Theatre on November 12. Bob Weir & Wolf Bros conclude the run with stops in Philadelphia, Boston and New York City. A pre-sale will be held using Ticketmaster’s Verified Fan program. Registration has started here and will run through Monday, August 6 at 5 p.m. ET. DATES: Bob Weir and Wolf Bros Tour Dates October 16 Reno, NV—Grand Sierra Resort and Casino October 18 Los Angeles, CA—The Theatre at Ace Hotel October 20 Santa Barbara, CA—Arlington Theatre October 22 Portland, OR—Keller Auditorium October 23 Seattle, WA—Moore Theatre October 24 Missoula, MT—Wilma Theatre October 26 Salt Lake City, UT—Eccles Theater October 27 Albuquerque, NM—Kiva Auditorium October 29 Denver, CO—Paramount Theatre October 31 Chicago, IL—Chicago Theatre November 5 Nashville, TN—Ryman Auditorium November 6 Louisville, KY—Palace Theatre November 8 Syracuse, NY—Landmark Theatre November 9 Port Chester, NY—The Capitol Theatre November 10 Port Chester, NY—The Capitol Theatre November 12 Washington, DC—Warner Theatre November 13 Philadelphia, PA—The Fillmore November 16 Boston, MA—Boch Center Wang Theatre November 18 New York, NY—Beacon Theatre Read more: https://www.relix.com/news/detail/bob_weir_announces_fall_tour_with_wol…
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10 years 6 months
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9/17/82 Cumberland County 1st Throwing stones and I think 1st Touch. Good show..est/eyes, great setlist.
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10 years 9 months
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The best sounding to my ears have been (off the top of my head) 21 4/2/73, which I think has a ton to do with it being on 10" reels instead of 7" (take that how you will). The clarity and definition on that recording is simply stunning, in particular I had a slack-jawed reaction to Eyes> China Doll with Phil's very quiet, yet still audible touches accentuating China Doll in a masterful way. The 11, 11/17/72 was a great tape as well. 26 11/17/71 was my commute music this morning, the first Other One in particular, and Phil was thunderous, Bob and Jerry were both quite present, and Keith sounded good, and has one of his few solos I can recall somewhere in that show, with Jerry even calling for the piano solo. The Wall of Sound Picks 2, 9, 19 are not my favorites because of the limitations of capturing the WoS properly and the vocal issues. They have a good presence for most of the instruments, but the drums can be hit or miss on WoS recordings, and there's almost always adjustments for the first 2-3 songs that afterwards, it settles down. DaP 13 is a proto-WoS show and it has the aforementioned issues that take a few songs to straighten out, but by the meat of the show, you're transported far away on a cloud of fantastic music. DaP 10 12/12/69 and the accompanying bonus disc from the previous night (one of the greatest single Dead discs?) are masterpieces of recording from Bear. I feel like I'm in a tiny club and can picture myself there from his Sonic Journal. To make it easier to read, and a more concise personal top 5 for sound quality: DaP 21 4/2/73 DaP 11 11/17/72 DaP 10 12/12/69 and 12/11/69 bonus disc DaP 26 11/17/71 (will have to check the bonus disc and disc 3 again for 12/14/71, but seem to recall not being as blown away by that show's sound) DaP 14 3/26/72 (could be totally biased on this one, I seem to like it a LOT more than others here, mainly because of that TOO>M&MU>TOO>Wharf Rat) Bonus 6th choice: DaP 8 11/30/80 the outlier as the only Matrix in the Series thus far, I think it shows how to put out a good cassette master SBD
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17 years 4 months
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Boise, Idaho invaded by goats. Hahaha By the way, does anybody look at all those Phish things that get posted on this site, presumably in error?
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12 years
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Dave's subscriptions make it clear that you get 4 shows a year. I know they hype sound quality and overall I think they get it right even when it's a great board from 1983. Anyhow, some years sound better than others but I really do think Dave % CO. do try to give us cool shows to enjoy! Cheers!
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don't hear how shitty this show sounds....maybe because I got on the bus around 1988 and started collecting tapes from many different eras I tend to like them all... I dunno, I like this show! I think it comes with many cool/great moments
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Nope. Perhaps somebody is trying to convert Deadheads to Phish, but I just scroll past them. I like Phish, but this is dead.net, so I'm curious, too, at the reasoning behind the spate of them with no text around it to offer anything to the discussion. I like people talking about other bands here especially newer stuff that I don't listen to/wouldn't be exposed to due to my own listening habits being fairly closed off to new stuff given the plethora of stuff available to listen to from the bands I already am into. But it works better when there's discussion, not random posting of songs. For example, it wasn't here, but on another site, I was recently exposed to Gentle Giant, and was absolutely blown away by their fierce musicianship, amd I'm appreciative of that. Just posting Phish vids when no one is talking about them is odd indeed. And since I went and brought them up, and have given appropriate context, how about some insanely complex Gentle Giant live: https://youtu.be/UM-yGcpaY_4
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9 years
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I think that all those Phish posts are from a person that forgot what website they logged into. There’s like 3 people here who actually care, and I think that all 3 are the same person.
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14 years 7 months
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Dreading - audio wise, I would rate this show an 8.5/10. The Cornell release audio sounded bad - soupy/muddy, far away, and I rate the audio for that 5/10. Really, the audio on this release is just fine, real good in fact. I have heard some real bad audio, and this is not bad - at all! Dave L. and TPTB should continue to release more '80's shows like this, use the master recording and splice with aud patches as needed. The band's performance, again, real strong, even the lyrical flubs don't distract from the overall intensity and jamming going on with the boys.
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10 years 9 months
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Come on man. That's just silly. That recording is clear as a freaking bell, and you say DaP 27 is an 8.5/10? Stop trolling, or go get your hearing checked.
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17 years 4 months
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....but it sounds better than Cornell? Let me check the calendar. Nope. It's not April 1st. You almost had me there.
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8 years 3 months
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It's been an interesting roller coaster on this board lately. Like a pack of psychedelic colored licorice, choose your color. Here's one example. Black Peter. Some like it. But lots of people seem to hate this version, and mhammond had the funniest crack about Garcia nearly dying singing it. Oddly, that's one reason I liked it. Normally I'm not such a fan of that song, as it can drag on forever and the so-called harmonies can be utterly atrocious. On DaP 27 though, I actually sort of liked it. Sure, Garcia's voice is ragged throughout the show, but he somehow relaxes it a bit on parts of Black Peter (even though it's still rough) and goes deeper in tone than he usually does on that song. For once, it gave me the sense that he WAS Black Peter, not just some white guy singing about him. He really was dying, and his delivery showed it, but in a way that got my attention rather than making me grimace. It's not my favorite version (I've only heard 2-3 that I thought were really great), but it was something definitely different than usual, and worthwhile from my standpoint. Especially because this ain't my favorite era, so I was looking for a few tunes that stood out as being different and made me notice. On a different note, there's a couple of interesting shows coming up at Weir's Sweetwater in Mill Valley for those who are in the area. Barry Zito, the ex Oakland A's and Giants pitcher (who had an incredible house on a ridge in Marin County that I got to tour vicariously online when he sold it recently) has become a wandering troubadour with an acoustic guitar. He's performing at the Sweetwater on August 8th. But more noteworthy is Julian Lage, one of the best guitarists alive (mostly jazz, but mixes in some rock, folk, country and classical, and can play about anything), will be there on Sept. 21. Unfortunately I'll be out of town, or would be there in a heartbeat, to see him at such a small venue. It's strange, to see that Lage's show, for one of the best guitarists in the world, is cheaper than Barry Zito's show. Goes to show the power of celebrity, I suppose. https://www.sweetwatermusichall.com/calendar
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