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    Who's ready to boogie with a little Brent-era Grateful Dead from the Gateway to the West? DAVE'S PICKS VOLUME 47 features the complete unreleased show from Kiel Auditorium, St. Louis, MO, 12/9/79 and you're going to need stamina because this one is high energy from start to finish.


    By the time December 1979 rolled around, Brent Mydland had fully cemented his place in the Grateful Dead canon with his twinkling keys, harmonic tenor, and songwriting skills. No more is that evident than at this show boasting 25 songs including soon-to-be classics from GO TO HEAVEN like "Alabama Getaway," "Don't Ease Me In," "Lost Sailor," and the Brent-penned "Easy To Love You." It's also packed with whirling takes on fan-favorites like "Brown-Eyed Women," "Shakedown Street," and "Terrapin Station." And you've never heard a 2nd set quite like this with eight songs before "Drums" including an improvised "Jam" launching from the end of "Saint Of Circumstance." It doesn't stop there though, with a blazing finale of "Bertha>Good Lovin'" and perhaps one of the best versions of "Don't Ease Me In" the band ever did play. We've rounded out Disc Three with an extra nugget from '79.


    Limited to 25,000 numbered copies, this release was recorded by Dan Healy and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering. Grab a copy while you can.

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  • JimInMD
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    Re:

    I'm with Oro on the snow, no bueno.. it's a terrible drug that ruined many a life of the people I grew up with. It seemed my high school friends that didn't go to college all got 'high paying' jobs (for our age) in contruction, landscaping, cable companies, UPS, whatever.. and all started doing blow... and all experienced serious problems. Going to school, we couldn't afford it that much. A friend in 87 or so turned me on to the idea that the stuff was no good.. stay away.. Danger Will Robinson. And pretty quickly I heeded his advice.

    As to Chucks comments.. well said. I saw a few shows where I walked away wondering what could have been or what happened. One was that last show at RFK in 86. Well.. they got much better after that, then they got worse but still had their moments.

    In the end we got what we got.. if I have one regret it's that I wish I would have gone to a few more shows. In hindsight, I probably went to as many as I could afford. A very positive experience on my life, I am grateful for that.. and grateful that I got to meet many of you here, and for those I have not met yet.. I at least get to read about your excellent stories, views on life and takes on music and all good things.

    Oh, I really liked that interview with Whiz on recording Europe 72 and the most excellent 5/26/72, which they played on SiriusXM last night at 9. Serendipitous it comes up on these threads today. I will listen to it in its entirety very soon...

    Be well people.. rock on. or as Mr. Burns said after his first dead show:
    Excellent!

  • Gary Farseer
    Joined:
    Wiz

    My memory fails as to his direct relationship. He was a technical type within the Organization. Now where placed I am not sure. Under Bear directly, maybe under Betty. In the documentary, he talks about the very last show of E72 and maybe some other things. He was the last tech in the recording truck, that is, recording switching tapes etc. This last show was pulling him in, blowing his mind. When Morning Dew came, he left and locked up the recording truck and went to go watch. He gives a deeply passionate discussion of that Morning Dew, that it was so incredibly emotive. That Jerry was crying, he began crying and was absolutely blown away with that version. He never went back to the truck and felt fortunate the remaining tape was able to record the whole show. That is my understanding, and from memory 4-5 years old, and my memory is not that great. May have to go back and watch Long Strange Trip, think it is still on Amazon. Might need to re-listen to that show as I became overwhelmed by the last years offerings and didn't make it through the whole E72 box this year. But can renew the listen as I am still digesting HCS and #47, and a lot of other stuff also. I also went thru the From the Vault 1-2.

    Here is a direct write up over at rick turner. Anyone want reference website, DM me or look up Grateful Dead's Wiz.

    May 12, 2020
    Dennis “Wiz” Leonard’s Notes on Europe ’72

    Here are my old friend, Dennis “Wiz” Leonard’s tech notes on the recording of the Grateful Dead’s great live album, “Europe ’72”. Most of my blog is my own writing, but I asked Wiz if I could share this, and he graciously said, “yes”. This is the clearest explanation of how Alembic did live recordings that I’ve ever seen. Wiz now works at Skywalker Sound…he went way big league!

    Dennis Wiz Leonard Europe ’72 Technical Liner Notes By Dennis Leonard
    “Less is more!” This was the motto of Alembic and many of the sound artists in the S.F. Bay Area’s growing community of folks trying to advance the state of the art in both “live” and “recorded” sound for rock ’n’ roll. One can hardly mention this philosophy to recording without touching on the Alembic PA system and its unique qualities.
    The new paradigm for live sound: the Alembic PA. In 1964 The Beatles played at Shea Stadium using a circular array of Vox Grenadier Column speakers, a box quite similar to the Shure Vocal Master Column. This approach to sound for a stadium was doomed even if all the girls did not scream. Fast-forward to ’67-70 and things were not much better.
    The Alembic PA was the first really hi-fi approach to a live system. It had direct radiator low-frequency elements rather than horn-loaded boxes, which were the standard. It was an electronically crossed-over three-way system using McIntosh MC-75, MC-275, and MC-3500 vacuum-tube amplifiers and Ampex MX-10 vacuum-tube mixers as the front-of- house console. It eventually evolved into the famous Wall of Sound. This was a philosophic approach, brainchild of The Bear, put together by some of the most talented engineers in the Bay Area, and the same philosophy was applied to the task of recording bands.
    Alembic Recording did not have a truck to pull up to a venue. We had gear, and we often built a studio at the venue in a room somewhere backstage. Sometimes we would haul the gear to the gig in a rental truck, then unpack and build the studio for the gig in the truck, take it apart when we were done, and take it back home.
    Recording Europe ’72 was a monumental task, and we came up with a great solution to building a truck which we could fly airfreight to and from Europe. A video-production company was letting go of a pair of cargo containers built for them to ship a portable video-production remote unit by airfreight. This was perfect—when set back-to-back, these two rode in the top of a 747 airfreighter. Each container was built around a reinforced floor, the sides and top latched on and off.
    We moved all of the components of our Ampex MM1000 16-track into a video chassis that put all 16 sets of AG-440 electronics down below the transport which was then on a 45 degree angle. This was not only more robust, but it was also going to allow us to run 14-inch reels. This took place in an all-night marathon. When we started, Ron Wickersham was not sure all of the original cabling would work. We were lucky it did! At around 5 am, the new machine was rolling; no cables needed to be cut or spliced from the original wiring loom!

    Another obstacle was that the capstan speed in an MM1000 was derived from line frequency. Ours was a 60-Hz machine and we were going to 50-Hz land. Ron came up with a solution which would also solve another problem down the road: He built a precision 60-Hz crystal oscillator; we drove a McIntosh 275 vacuum-tube amplifier and picked off a tap on the output transformer, which would give us 120 volts with enough current to run the capstan motor at our precise 60 Hz/15ips, also now immune to line-frequency fluctuation. The other problem arose when we tried to get Ampex to give us their 207 tape on 14-inch reels. Ampex 207 had a thinner backing; instead of the traditional 30 minutes one got out of a 10.5-inch roll, 207 would give us 45 minutes, so a 14-inch reel was going to run 90 minutes—very desirable when recording a band with long sets, like the Dead. Ampex would not build the reels; we had to do those ourselves. Remember, we were running the recorder’s capstan on an oscillator, so for building the reels we hooked up a variable-frequency oscillator. We would ramp the machine up to 60ips to pack the tape. Each of the 14-inch reels had a splice in it. Ron and Sue Wickersham and I spent a few nights at Alembic having a 14-inch- reel-building party.
    The recording rig was quite simple: “less is more.” We recorded the Dead quite often, so a lot of what we did for Europe ’72 had been tested and proven.
    We built the rig at Alembic. One of the newly procured containers had the 16-track and an outboard equipment rack, the other . . . a custom built cabinet which was our tape library, and this cabinet also had our monitor console, Revox two-track, cassette machine, and Orban reverb units mounted on top of it. A carpenter met us at Heathrow airfreight in London. When the gear arrived, we took the sides and tops off of the two containers (which were left there in storage for the tour) and had them forklifted into our rental truck for the tour. The container floors were about ten inches high, so after the two were in the truck, the carpenter secured them and built us a filler floor so that the recording truck would not have a split- level floor.
    We wired the truck up and hung drapes and the 4310 JBL monitors, as well as many other things at the first show venue, Wembley Arena.
    The flow of the rig, starting inside the venue, consisted of the following:
    Two nine-pair snakes plugged into a custom Alembic split. AC from the stage ran to the truck with the two nine-pairs. Once inside the truck, the AC power was conditioned in an automatic, motor-driven variac made by General Radio. This was to, hopefully, prevent severe voltage fluctuation. The split plugged into the rack, which held a patch bay and minimal gear. We had a couple of Ampex MX-10 tube mixers and some limiters. The limiters, by the way, were used only on vocals for our monitor mix; we did not want to do anything to the vocals on the 16-track record master.

    One of the big “less is more” philosophic bits of Alembic magic was the use of transformers in the input section of the MM1000. Ampex offered modules which plugged into an octal socket on the back of each 440 record amplifier. We used these sockets for the transformers, which would allow us to take microphone level right into the tape recorder, totally passive—no electronic noise added and no record console electronics to fail.
    The MM1000 fed a very small, 16-track Alembic monitoring console built by Ron. Janet Furman was our technical engineer and not only fixed things, but also set up the 16-track to the custom equalization we were using with the thinner-backed Ampex 207 tape. We could monitor, solo, and build a two-track mix on this. We recorded to a Revox B77 and a Sony cassette machine, and we also had some pretty simple spring reverbs for our two-track mixes.
    Shows seemed to generally fit on two 14-inch reels and a ten-inch reel or two. Tape changes were quite interesting: We did not have a lot of room and had practiced this quite a bit, and it took three of us to do this at high speed. In an effort to not run out of tape during a performance, we had an indicator-light system of communication. Under Jerry’s monitor wedge there were three small lamps mounted on a piece of wood. The lights could be lit from the truck. A green, yellow, and red light: Green = we are rolling and in record; yellow = if you can wind it down and stop, we need to change tape; red (if, in fact, the band did stop for us) = changing tape, not in record.
    This, of course, did not fit in with the way the Grateful Dead worked. There were not going to be any rules. Early in the tour, I tried a “yellow,” asking for a possible wind-down of the jam so that we could change tape. Even though this had been an idea we had discussed Stateside, Jerry was having no part of it! As I switched on the yellow light, I looked at Garcia on our 13-inch B&W TV monitor. He looked up at the camera, knowing I was watching, and simply smiled and nodded no in a very friendly way. Don’t fuck with the music!
    We did some tape changes while the band was playing. We really did not want to interfere with the flow of the music.
    I was in the truck for the tour, parked in front of the Ampex 16-track. Since we had no record console in the path to tape, the 16-track itself was actually the only place to make any level adjustments, so with our custom MM1000, all 16 of the AG440 record amplifiers were clustered together in two stacks of eight, easy to keep an eye on. Betty Cantor did our live two-track mix in the truck; she was around eight feet away. The band really had no set lists in those days, so as the show went down, I would write one on each of the tape boxes. Bob Matthews was at front of house. We would chat on our intercom after songs, and he, Betty, and I would decide how many stars to give a song: Three stars meant it was a really good performance! The star system was used when we got back home in order to focus on candidates for the Europe ’72 album.
    Twenty-two shows in two months (57 days) is a vacation tour. The current tour-booking standard is to average 4.5 shows a week, and the Grateful Dead Europe ’72 tour was booked at around 2.5 shows per week. It does not get much better! Although it was an amazing time, with many days off, we took recording this tour very seriously and there was no relaxation on a show day at all.
    It was a high time for everyone. The music was just amazing and for me not seeing any of it except on a small B&W TV was OK. I did, however, get inside on the last night. Due to circumstance, I was alone in the truck. We had, only minutes before, put a fresh 14-inch reel up and had 1.5 hours before the next tape change. A microphone onstage needed attention and I had to go inside. I did this with a bit of trepidation; I really did not want to simply leave the truck, but no one else was available and the mic needed to be fixed. The band was in a spacey jam and was very unlikely to produce levels which would be a problem on tape.
    I locked the truck, went inside, and quickly fixed the bad mic, which was just a bit loose on its stand. As I went for the stairs to leave, the band dropped into “Morning Dew,” which has always been a favorite tune of mine. I decided to stay. Dynamically, the levels in the truck—which was now “running itself”—were going to be fine, and I had to stay! I parked myself behind Jerry’s rig for the song, a time I will absolutely never forget.
    Fast-forward to Alembic Studios, 60 Brady Street, San Francisco. The band is choosing the final songs for the album. I am walking down the hall towards the control room. Jerry bursts out, very animated as he catches me, “Hey, Wiz. Guess what? ‘Morning Dew’ from the Lyceum is for sure going on the album.” (Big smile from Jerry.) He says, very emphatically, “And no one was in the truck!” (Bigger smile.) The Grateful Dead’s music was built on taking chances, embracing the unknown, letting serendipity have its hand. So the fact that, while no one was in the truck, a true pearl was recorded was not unusual at all! It was just an affirmation that we were letting the muse guide us in an invisible and mysterious way.
    The tour was a truly magical time. It changed my life forever! If I were to be marooned on an island with only one piece of music I could ever listen to, “Morning Dew” from Europe ’72 would be it. Jerry’s solo says it all!

    Oh… One more anecdote, I got back to SF after a quick trip to Vermont to get my dog Zach… Got back to Alembic in time to meet the gear, we were now at 60 Brady street… Big M (Bob Matthews) grabs me and says, “Hey remember we had to fast wind some tapes off, so I want you to play the tour, the whole tour, so all the reels are playback packed at “Tails out” the control room is yours” So I said, “hey I’ll just live here till it’s done, ok?” Big smile from Big M… What a drag, I had to play the whole tour, update thoughts (Star System) on quality and I put another pair of 4310’s in the back of the control room and played the room miss through them… (Surround sound) sat and did a live mix for I am not sure how long, I would play and sleep, sleep and play… But it was pretty constant… Stop every show to clean the heads….. Then I moved up to Fairfax and really slept..
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  • Gary Farseer
    Joined:
    Sixtus

    I have been dabbling in Goose's pool this year. Definitely very enjoyable stuff!

  • Gary Farseer
    Joined:
    Wow

    In the mid 80's we a had massive gak parties. Some lasting several days and going thru massive amounts of cocaine. My last dalliance was summer 1986, sort of lines up with other events of 1986. I was born with a heart condition, thought I should stop as the heart palpitations might lead to an arrhythmia. Just before that, Crack started to come out. Remember being in a friend's friends house that had turned into a Crack lab. Man were they a factory. Started to change my views about Coke. Trying to put puzzle together on 86. Only time I smoked crack was in Manhattan, August 86. My brother and I had just left the Blue Note watching Dizzy Gillespie. We were already high on white lightning (name for blotter - and yes there is that deeper connection to Bear and The Human Be-In). We were walking the streets around 2am and we come across a cat hanging out on the front of a brownstone. He was smoking and we started talking. We ended up buying bag of pot from him. He also pulled out another joint and fired it up and then passed to us. After smoking it he told us it was laced with crack. There was only one other time that I was that high and that is the show I wrote yesterday saying I would write about it next year on anniversary of show. We were so incredibly high, that at 3am on a packed subway, New Yorkers were freaking out watching us. It was a ball. I have posted about that night a couple of times here with a lot more detail. So somewhere summer/fall 86 was my last ride. Not sure of timing, remember the party but not the time. Know it was shorty after NYC August 86, but then when was the crack house event...timing of Jerry getting sick. It is all a big blur now. But dang, that feeling of doing two quarter gram lines up each nostril was absolutely amazing. That is, a buddy of mine took a gram divided into four lines and each took two.

    Hmmm, I do remember an ear nose and throat doctor soaking my throat with cocaine before she sent a camera up my nose and down my throat. That was 2004, so I guess that counts too.

    Everything has its purpose but all things in moderation. Guess that is why I never crossed the line and became an addict to anything.

  • Sixtus_
    Joined:
    Goose at the Boston Pavilion

    ...headed to Goose the next two nights at the seaside pavilion in Boston; looks iffy with thunder expected for most of this afternoon/evening, but tomorrow looks good. Will be the start of their Fall tour here before they head to Europe in November for the first time. I've been on this ride for the past 18 months or so, and I have to admit it's been amazing so far with no limits in sight. Each show is literally the best show you've seen, until the next one. Where have we heard that one before?? They are on a true roll. For any who may be skeptical, this is a full-hearted prompt to go and dip that toe into the waters to see what its all about. A lot of stuff on The Tube with a U, and Bandcamp has all of their shows and albums to listen for free (it's all also on Nugs).

    Also saw that Phish announced their first festival in many years, holding a spot for next summer already.
    In Delaware of all places!
    Hey Garth, we're in Delaware....

    Be Well People!
    Sixtus

  • Gary Farseer
    Joined:
    Proudfoot

    check DM.

  • Oroborous
    Joined:
    Toot toot totsie

    No Bueno!

    It was around, luckily we were too poor for that. (It was expensive then)
    Occasionally, maybe for special occasions, or weddings or NYE etc, but fortunately only rarely.
    If you’ve never, don’t bother.

  • Oroborous
    Joined:
    Sheik

    My understanding is the Fillmore 71 tapes were chopped up to use for Skull Fuck and other things.
    Supposedly that’s why they did Ladies and Gentlemen: to use the best of what was available…

  • daverock
    Joined:
    When your day is done..

    Cocaine never appeared in my orbit when I was young, so I never took it either. I'm sure if it had appeared during my teens I would have had a dabble - I believed in living adventurously. I suppose I could have had a go later in life, but I never felt it was worth it, all things considered. I am not sure what the characteristics of a coke inspired jam would be.

    I would watch a biopic of Jerry if it was on the telly. But I would have very, very low expectations.

  • sheik yerbones
    Joined:
    multitracks recordings

    Recently listening to Three from the vault, St Louis 71, and Europe 72, I am just asking about the multitracks recordings if there is anything about Fillmore East 71 (a full show 27 or 29) or the final run at winterland in 74 (full show) - St louis is a good show but the sound is not as shining as the others. I return to the capitol 71 shows, they are so good, great shows as a quintet.

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3 years 4 months

Who's ready to boogie with a little Brent-era Grateful Dead from the Gateway to the West? DAVE'S PICKS VOLUME 47 features the complete unreleased show from Kiel Auditorium, St. Louis, MO, 12/9/79 and you're going to need stamina because this one is high energy from start to finish.


By the time December 1979 rolled around, Brent Mydland had fully cemented his place in the Grateful Dead canon with his twinkling keys, harmonic tenor, and songwriting skills. No more is that evident than at this show boasting 25 songs including soon-to-be classics from GO TO HEAVEN like "Alabama Getaway," "Don't Ease Me In," "Lost Sailor," and the Brent-penned "Easy To Love You." It's also packed with whirling takes on fan-favorites like "Brown-Eyed Women," "Shakedown Street," and "Terrapin Station." And you've never heard a 2nd set quite like this with eight songs before "Drums" including an improvised "Jam" launching from the end of "Saint Of Circumstance." It doesn't stop there though, with a blazing finale of "Bertha>Good Lovin'" and perhaps one of the best versions of "Don't Ease Me In" the band ever did play. We've rounded out Disc Three with an extra nugget from '79.


Limited to 25,000 numbered copies, this release was recorded by Dan Healy and has been mastered to HDCD specs by Jeffrey Norman at Mockingbird Mastering. Grab a copy while you can.

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17 years 3 months

In reply to by proudfoot

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I guess, though the more I learn about him….ok, no dissing the Deceased…
Perhaps He and Lee can work all that BS out now?
Who’d a thunk old Garth would be last man standing. You go Garth!

Whoooaaaa, just realized, some other sorta important Guitar player died on August 9th….spooky.
They’ll be some jams for sure!

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17 years 3 months

In reply to by Oroborous

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Lol, makes me think of one of my favorite South Park episodes. Cartman as an exterminator, tapping on an old womans walls, “I’m sorry mam, you have Hippies, I hate Hippies”
I identified more with the Beats and their culture and mores than the Hippies, but can boogie with most freaks!

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11 years 5 months

In reply to by proudfoot

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Will be running a marathon of GD/JGB music this evening, toasting with Jerr and now Robbie.... finishing off 47... just as soon as I get the jungle lawn cut. Wake of the Flood indeed. When I went off to college in Maine in 1970, I seemed to be the only one playing the Live Dead album on near daily basis, interspersed with Anthem and Aoxo. Had I arrived in the right place? Then I found people listening to Music from Big Pink, Savoy Brown and J Geils.... next they brought Alan Ginsberg to campus so he could read from Howl, I started to dj for the campus 5 watt station, all was good.

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He wrote Broken Arrow but Phil got it from the Rod Stewart cover.
I'll be honoring him by playing his excellent self-titled solo release.
It's killer. It has mood. Travel onward Robbie.
Cheers

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17 years 2 months

In reply to by 1stshow70878

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We all might stop off at Nicks cafe this evening…

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9 years 1 month

In reply to by Oroborous

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I am sure some around here (hometown) would say...always depends on hair and beard length.

Gonna post again a quick intellectual debate. The last time I posted this, probably early 2016, it got overlooked or panned by folks.

I really wish Bob would comment on this.

But in 2016, I wondered if Estimated Prophet/Profit!, was written regarding Charles Manson. The song seems to fit him so well. I think of the electrician (?) knocking at backdoor of Winterland in the Movie. Charles was released from prison in early March 1967, if memory serves, and went immediately to the Haight. That is why I see him as a backdoor man, just trying to get in and sell his wrap/bullshit. I was thinking maybe the entire Organization of hippies for the most part rejected his overblown ego and self importance. "Standing on the beach, the sea will part before me...Fire wheel burning in the air. You will follow me, We'll rise up to glory (or we will ride to glory), way up in the middle of the air."

Just another rabbit hole for me. I posted again today because I was reminiscing about Chocolate George, the Hell's Angel and his funeral. Back when we could post, I had found video segment that showed the angels funeral procession along with video of the dead playing after the funeral, and had the board tape edited in. It was a very short clip. If you search Chocolate George's funeral you will find lots of stuff. But in 2017, it looks like a 50th anniversary of the summer of loveeb site was created. Has article about Manson on front page. I have not had time to read yet. Maybe after I open my skull in a bit. the web page is summerof then an actual dotlove/history.

Now to tie the two together. When you see Chocolate George's funeral procession, you kind of get the sense that maybe the S.F. crowd told him to shove off. I am sure his wrap did nothing for the angels. As within just a few weeks he was back down near L.A. starting his little empire.

One last thing, has any one seen Outlaw Chronicles - the story of the Angel's George Christie. It is really a very interesting watch, lasts several episodes and several hours. He moved the LA Angels to Ventura. As all this stuff has always interested me since I was a kid. Then, over time, I will explain more. But dealt with a local BC here back in the mid-late 1980's. Wanna talk about the free flow of...

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10 years 8 months
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While not a huge fan of the ego that broke up The Band, the man undeniably left a massive imprint on what we think of as rock, folk, Americana, or just music, period. I have no clue what The Weight is about, but damn if it ain't one of the greatest songs ever put down. And The Band had a few dozen of those level songs. Indisuptably, he penned the lyrics. More up for debate, is how much credit the other guys should have gotten for their contributions to the music. But, avoiding that to think about this 15-16 year old Canadian Indigenous person (who learned early in life to hide that part of his heritage) who tore up the Canadian circuit with Ronnie Hawkins and the Hawks. Then cutting out with Levon and the Hawks, then joining Dylan in going electric as The Band. Levon was a tough guy, but even he couldn't take the booing and quit, and Mickey Jones finished the tour. Dylan's motorcycle accident and The Band living nearby at the Pink House is now legend. As far as his guitar playing, no less than Duane Allman is said to have cited Robbie as his favorite guitar player. An authentic rock legend.

Got my DaP 47, have ripped it. Like the gatefold as Vguy mentioned, and noted that DaP 31 has it as well when I grabbed it to re-rip the filler to sit with its companion pieces. Looking forward to listening. Just got the computer set up last night, and luckily, just checked and the music cannot be heard in the bedroom over the AC (even maxed on my computer), so wife is blissfully ignorant of my goings on in my new music room. So far, in Promised Land, it sounds like 1979-80, tinny keyboards (but constantly in the mix, unlike Keith, who was often largely absent), Phil with a different sounding thunder on the Irwin bass, the drummers more ensconced in their own giant sets, and Jerry sounds like he's having a ball early on, Bob seems more prominent in the mix than Jerry so far. The liner notes were interesting. Almost like Dave is saying "12/1/79 isn't coming out for a long time, and I'm going to turn you onto the shows that are better that tour first", which i don't get, 12/1 has a Black Peter, what more does Dave require? I'd like some more Altheas if we're gonna be in an era where it's played.

Gary, out of curiosity, what were you doing at Hanes Mall in Winston-Salem the day Jerry died? Did you live near there?

What if the rhyme on 48 doesn't mean '68, but '88? I'll take 7/2, which leaves a gaping hole for some prime filler.

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17 years 2 months

In reply to by alvarhanso

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....don't get me started.
Does the music sometimes fade into the background? And then a certain switch flip occurs that perks your ears?
It just happened to me during the second set Loser at 6.9.73.
Second set Losers are tight!
And it's a grate one.

Gary - yes, that's an interesting theory. From my memory of the mid 70's, there used to be certain type of "hippie", slightly older than my generation - maybe 25 to my 18, who assumed the role of men of wisdom. Men...and it always seemed to be men... worth listening to. I remember a guy like that in my home town. A bit older. He had a beard, his own flat - even a girlfriend! A beautiful woman of about 19, who stared at you and rarely spoke. And when she did.... she whispered. They informed us about meditation, and came out with statements probably filched from the Bhagavad Gita or somesuch. And of course, they sold a bit of bob hope on the side. Quite intimidating in way, but harmless enough.

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Hey Daverock, I remember the first hippies I ever met, they were older than I, yes and their attitude and demeanor were so laid back. The first time I met them a long haired dude and the sweetest of sweet little lady who when we entered asked us if we would like to smoke and offered up an assortment of smokables on a beautiful art and crafts type rolling tray. They were so cool, she said, "Would you like to try some of this tasty oaxaca that we have" and off we went.
I was shocked this morning when I read that David Laflame had also passed away, what a talent. I'm sure that everyone who ever saw the It's a Beautiful Day perform would agree. Have several of their albums, the first with the lady on the cover is an all time favorite and a classic with hits like "White Bird" and "Hot Summer Day" and of course "Wasted Union Blues" great song title that one. Other lp's followed but their first was their best. Marrying Maiden and Choice Quality Stuff are both good too. The compilation 1001 nights is a good one that puts them all together on one lp.
My record collection is starting to look like "works from the graveyard" everyone seems to be leaving us.
RIP Robbie and David, man that Heart of Gold band is really getting crowded.

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His solo lp is so good, and of course his work within the Band is legendary. I had a real love/hate thing going with him but that is in the past, nothing but love for a great musician now, may the four winds blow you safely home somewhere down that crazy river.

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Sorry to hear David Laflamme has passed. My friends and I wore the grooves out of that first IABD album (great cover, too!), and their second was pretty decent, too. I saw LaFlamme years ago oddly enough on an episode of Frasier!
As for Robbie, my hometown hero. I was lucky enough to see the original Band twice, but their show on their finale tour, leading up into The Last Waltz, was one of my best concerts ever. I found myself asking myself why these guys would want to quit when they were so damn good.
Godspeed gentlemen, into that good night.

…THEY, didn’t want to quit, only Robbie did. He tried to make it out like “they” did, but it was only him.
Heard this straight from Lee himself around the time they were getting offered millions to do a reunion at Carnegie Hall. The Band and especially Lee could have really used the bread.
That’s how hurt and stubborn Lee was about Robbie breaking up the band: he’d rather be broke…

Of course the Band kept on in one form or another and eventually Jimmy Weider took over the guitar slot and did a Hellava job! The 90s Band was sweet if perhaps not the monster they once were.

Oro - I agree the guys were pretty sore at Robbie, Levon especially. Robbie argued that Lee, Rick and especially Richard became major fuck ups and too unreliable to record or tour, and I’m sure the truth is somewhere in the middle. I’m not defending RR, and I found his film (Band of Brothers) and his book kind of self-serving, but lots of bands break up, and the guys don’t crash and burn like those guys did. They did live hard, and maybe there was truth to what RR said. Maybe Garth is the only guy that knows? But regardless, they made music for the ages. Timeless.
PS - I agree with VGuy that August 9 kind of has an aura about it now.

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Same old story and I know it's been told

Some like jelly jelly

The vast majority like gold.

Easy for me to say, but if I had 2 million in the bank, I would gift some to my bandmates.

But I don't have 2 million in the bank nor former bandmates, so maybe I'm full of brown acid.

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… any Love for the dead’s ‘STARLIGHT THEATRE’ - AUGUST 3, 1982 performances from the entire band ! Bob is really nailing it during crucial parts of the performance on every song. Jerry is on top of his game! Jerry’s guitar playing seems to be pouring out his fingers going down the frets of the guitar! Fire indeed! The first set is one of the strongest in a long time! 11 songs if I remember correctly. The second set shows the band flying down the train tracks with a a killer “ Casey Jones!” As an encore . Very rare at this point in time in the dead’s playing.
The second set contains amazing good Ol Grateful Dead musicianship as a band! Grateful Setlist as well! Anyone else a fan of this show??
Beautiful’Stella Blue’ very sweet!
One of my favorite ‘he’s Gone’ primo!
Setlist 1
Mississippi Half-Step
Franklin's Tower
New Minglewood Blues
Peggy-O
El Paso
Cumberland Blues
Althea
Cassidy
Big Railroad Blues
Man Smart/Woman Smarter
Might As Well
‘Set 2’
Shakedown Street
Samson and Delilah
To Lay Me Down
Let it Grow
drums
He's Gone
The Other One
Stella Blue
Sugar Magnolia

Casey Jones

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Yes, I’d say the truth is skewed a bit towards the middle, but as you say RR could be very self serving. Probably why he did so well on his own, especially with film etc. And yeah, those boys weren’t always the most professional.
I got to work several dozen shows with them in the nineties and there were definitely some sub par outings that usually could be attributed to use, or more likely, being without and not being able to…I remember this one show in Houston in 96 at some small dumpy club. Horrible super short show. Pauly the roadie told me Lee wanted to stop after like 3 or 4 songs. Pauly said he kept having to tell him “Lee, you just started, it’s only been like a half hour” etc.
But the majority of shows, though perhaps short, we’re very enjoyable. Some nights, usually if there was more incentive than the endless crappy clubs, you could still witness the greatness first hand. We were on stage with them when they opened for the Dead at those last Chicago shows, and they played great. With Jimmy Weider, Randy Ciarlante on drums, and the great Richard Bell on piano, I saw nights that were amazing. And what a dance band!
I danced way more at Band shows in the nineties than Dead shows.
I think if they’d been playing the caliber of shows they had become a custom too, they would have been more motivated and thus professional. Traveling hard and playing clubs is tough enough even if you’ve never been that famous.
Yeah I can understand Robbie’s POV, and he certainly is justified in personally wanting more/different, but it’s the way he went about it that leaves a bad taste.
Honestly, I think much of it was Lee didn’t know anything else but playing, so like Bob and Jer needed to be playing, it’s who he was. So I think maybe deep down he was bummed that Robbie sorta took that away, for awhile at least. He overly blamed Robbie for breaking his heart more than anything, and so turned that into anger…and hey, sometimes it’s easier to put the blame elsewhere?
But Boy it would have been cool to see them get together even if just for that Carnegie reunion run. The band was tight then and Robbie would have just been the Cherry on top!
Really it’s all just a shame they couldn’t have worked something out besides all or nothing…
Oh well, as a former muscian I’ve always said being in a band is like being married to several people.
The musics the easy part it’s all the rest that makes and breaks bands.

Great post, Oro, and you raise some really valid points. You have first hand knowledge, and that had to be an incredible trip being with them (and I agree on Jim Weider’s guitar prowess). I know the guys were also pissed that RR never shared songwriter credit (and the incredible royalties), but why were they not equally upset at Dylan for excluding them for songwriting on the Basement Tapes? Excusing Lee being a late arrival to the Tapes, I cannot believe that Tears of Rage (Richard) and This Wheels On Fire (Rick) were the only two songs they helped shape? Garth and RR contributed zilch!? So why didn’t they have an axe to grind with Dylan?
So there is a lot of here say and egos and anger that did them in, and that was unfortunate. But the stories you tell are great, and it had to be a hell of an experience to see them play first hand.
We know, too, how destructive drug addiction can be - look no further than Jerry and Brent. And with three of them heavily into junk, Robertson must have felt like it was nailing jello to a wall trying to get them sober enough to record. I’m just saying a lot of stuff is hung on RR I don’t think was fair.

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I was in W-S to start on my master's degree at Wake Forest. As it had been a while since undergraduate degree, they wanted some of the older folks to attend an advanced math boot camp to reinforce/prepare for the coming math onslaught. Started boot camp on August 7th. The camp was 7am till noon for five days.

WFU gave me a great education. Previously I had been what is called a "Lead Negotiator" for the federal govt. Just had to get out of there, as by working harder, I was honored by doing the work of the many less than acceptable employees. Now as I approach 60, I am semi-retired and have worked from home almost 15 years. So things worked out well. Have time to read and sometimes post here.

More later on Robbie, other topics here.

Still we must smile smile smile

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Pecan Lover's you can order excellent pecans from Priester's Pecans near Montgomery Alabama.

I owned a house in the early to mid 90's. It had three huge pecan trees. Each tree was one of the three different pecans types.This house sat on land of an old southern plantation that had a pecan grove that stretched almost 15 miles. The trees were well over a hundred years old. Had years with heavy to no yield of pecans. Use to gather them by the bushel in the good year. Used to give a bunch to my grandmother who only lived a few streets away. What did I get back? Pecan Pie of course. Now, been decades since I had a slice.

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Good point about Dylan Mike.
A lot has been written about the royalties too.
I can understand both points: the old school record company gives credit to one person etc, versus the group band mentality. As a musician, I felt like I contributed to the original music by creating my part and other little tid bits, phrases, a word here or there, even though technically I did not “write” the song. Does that mean I should get credit or not? In RR defense, how did they not know, and when they figured it out, why didn’t they do something then?
This is an old problem going back as far as modern recorded music itself. Not an easy answer, but from my perspective, I’d say they should have gotten more credit than they did, but perhaps not as much as Levon thought…
But as you state, same situation with Bob D and I don’t recall ever hearing them complain there so?
Yeah, good question Mike! Again, just too bad all the BS had to mess with the music.

EDIT: yeah well when it came to abuse Robbie was no boyscout either. He just got his shit together sooner and moved on. I don’t doubt there’s truth to what he says, especially in the 70s, but again, I think some of that is him putting English on the ball to make himself look good, or not the bad guy anyway.

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I ask, as I grew up in Winston and Greensboro. My dad was a faithful Wake fan, which is sad given their long history and single Final Four. But I always gave him credit for sticking with them, rather than abandoning them. But, how do you not make a Final Four with Tim Duncan? Though, given your life experience, I'm sure the hardwood exploits were the least of your concerns in grad school. Glad it was a good experience, I have only heard it's a great school. I'll bet you got very familiar with Baity St and it's awesome Ziggy's, home of Roots, Rock, Reggae. If you were there until '98-99, we probably attended a lot of the same shows. A college buddy saw Aquarium Rescue Unit open for Phish there in '92. My dad caught the Ramones there twice, still have one of the ticket stubs.

Awesome stories, Oro! Sad, too.

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Great arguments all, Amigo, and really great stories.
Clarence Darrow had nuthin' on you!! :]

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PT - they sound like a nice couple who you met all those years ago. There were some very kind people about then, in the hippie world. The first time I tripped was with a couple like that. They seemed very caring, in a world that wasn't usually like that. Being a bear of little sense, I thought I'd try 2 or 3 tabs. I was given half of one, which seemed quite insulting at the time. Two hours later I was so high I couldn't speak.

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Of course you deserve credit. Is it a band or not?

I always look to RUSH: both the band and the feeling. Rush decided very early on that they would divide the royalties 3 ways. They were having some issues and they came together with that plan, as documented on one of their documentaries. Much easier to do with Rush because all three contributed pretty much equally all the time.

So yeah, I always had issues with RR. That has mostly melted away. It comes down to the fact their was only one dirt farmer (cotton) and that was Levon in the band. Now maybe Hawk rubbed off on the others and gave them some redneck swag, but I doubt it. No disrespect, but how could a Canadian write "The Night They Drove Ole Dixie Down?" when he was a far stretch from understanding what that was like. I watch The Last Waltz a couple of times a year. And once, always Thanksgiving Day.

Speaking of Hawk...another Hawk, Taylor Hawkins, was contacted by Dave Grohl for an audition (going from memory on a few things) after someone contacted DG looking for a drummer. DG gave Hawkins a call to get him to go audition but Hawkins told him I would rather join Foo Fighters. Hawkins made it clear he wanted to be in a band, not the drummer for a solo artist (that artist being Alanis Morissette, who he worked for not auditioned for). So, I doubt that DG gave all equal rights like Rush, but I also doubt DG treated his band the way RR did. Just one guy's uneducated opinion.

Edit: Rush's Geddy Lee said once we established equal royalty rights, that issue was over and never was revisited again. Harmony! What a great name for my new upcoming boy band.

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....they transformed into a different band every four records.
Fact check me on that, because it's not fake news.
RIP Neil Peart.
Paging keithfan2112!
Did you know if you put a mirror in the middle of the 2112 cover, a devil appears?
Badass.
I grew up in the middle of the heavy metal = Satan Worshipping era.
It was hilarious.
My parents even had to have an intervention at one point due to my obsession with music. Esp the loud music.
My bedroom was plastered with magazine inserts and tapestries. And I hadn't even discovered weed yet!
Had to take them all down.
I threatened to run away.
I did. For five hours.
I miss the 80's.
Edit. Maui is burning. Bill The Drummer just posted on IG re it. Over 40 dead.
I donated $20 to the cause.

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Liked (and like) em both. Agree GFar on your comments. Read This Wheels on Fire years ago, a good read and gave me a much deeper perspective on their history and chemistry. Rush was one of my first concerts. I think I was 13 or 14 give or take. What were my parents thinking? I was lucky to see them early, they were hot, hot, hot especially in their early years.. and my ears could take the volume back then. High energy rock and roll.

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All of these were streamed today, even though I own the albums it was easier than searching for them:

‘Chrome Dreams’ - Neil Young

‘… at Newport’ - Joni Mitchell

‘50 years of hip-hop BBC Radio1extra mix tape’ - Various Artists. This is an hour long mix of tracks from 1973 - 2023. In the UK it’s available on iPlayer if you have a licence.

‘Ask Me No Questions’ - Bridget St John, this is a great album from 1969 that originally came out on John Peel’s Dandelion label. Somewhere I have the LP.

‘The Big Huge’ - Incredible String Band. This is still one of my all time favourite albums.

UPS tell me that my #47 is out for delivery. Since it’s said this since yesterday morning I’m not holding my breath. Hopefully I’ll see it early next week although it’s the hope that kills you!

just some old duffs having a nice conversation, everybody wins!
About as close to sitting round the bar playing verbal tennis as we'll get these days lol
Though I love to talk too much in general, I particularly love talking about music, sweet music!
And it’s always nice talking with you!
Happy Fri Yea Dead Freaks!

Hope y’all get to enjoy 47 asap. I know I’m looking forward to another go round this WE!

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once at the infamous last show of Richard Manuel and the set at Woodstock 94, Don't remember much about the Cheek to Cheek in Winter Park, Fl show, except we all thought it was far out that the Band was playing in such a small place, I mean only about 4 hundred people or so, it was a pretty classy place back then. No other memories remain.
The show at Woodstock was really good, Bruce sits in and stays thru Bob and Rob's set, stepping in towards the end of the Band's set with and Eternity and I think a Fever and a Throwing Stones for the ages. That was such a good time, wish the entire Grateful Dead Band would have played but it was real nice that Bobby and Rob came out to play. Big Fun

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Carousel Ballroom 1968

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Greetings to You All.

Just thought I might share a bit of news and perhaps, add to your music enjoyment and appreciation. Sixto Rodriguez, (Rodgriguez), crossed over a couple of days ago. If you are not familiar with him or his music and you have the time and patience, you might appreciate the documentary 'Searching for Sugar Man'.

NPRdotorg had a nice write up yesterday.

Hope Everyone has a beautiful day.

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Olathe Sweet sweet corn crop decimated!
Check your PMs.
Cheers

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Right back at you, Amigo! I could chat music all day.

PT Barnum - It’s both cool and tragic seeing Richard Manuel’s last show. One for the ages.

Incoming - Neil Young “Chrome Dreams”

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It’s arrived in Nottingham - no duties to pay, thankfully!

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My #47 has just been posted through the letter box.

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#4077 has arrived in Scotland. Listening to the bonus material from the windy city first and it's superb. Saving the main course for this evening. Enjoy your Saturday and keep on keeping on (and smile).

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Which one's Greta?

Couldn't resist...

Good to see our international buddies are finally getting their copies of Dave's

Long drive today...Kezar 73 is the expected show.

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I think I dig the gentle, lilting qualities of Set 1 a bit more here. God bless him , but Bobby seems to be in Try too Hard mode for the 2nd. 11/24 is my fave show from Fall ‘79. Hopefully we will see it released some fine day. Either way, the sound quality with this and all DFave’s is a revelation rarely to never heard elsewhere. Thank you.

....yeah. And he spits a lot at times.
Edit. So my son got one of those Playstation VR headset things. Holy shit. Talk about brain activity going into 5th gear. Incredible tech but they do have a disclaimer saying an hour at a time.
Understandable. It awakens certain....cortexes.
The NFA from the philler here is good.

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