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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 6 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.

Gary - I still find it weird we both had this random song roiling around our heads at the same time. A great tune with a pretty hypnotic keyboard part. Before I was familiar with that song, I remember ex-Zombie Rod Argent had this popular song of his own in the early 70s - Hold Your Head Up - with an equally great keyboard stretch out.
Good luck with the lottery numbers.

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4 years 3 months

In reply to by Gary Farseer

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Hyperbole, of course

However, "oh I love to eat it every day
And if you ask me why I'll say
'cause Oscar Mayer has a way with b o l o g n a"

Who wears short shorts
We wear short shorts
If you dare wear short shorts
Nair for short shorts

Brill cream
A little dab will do ya
For men who use their heads about their hair

(Huh huh....they said dab...huh huh)

Gotta be honest...I rarely listen to any GD from the 90s, so I dont know too many Corinnas. However, 6/20/92 comes to mind. And...is it 10 14 94 that has a Corinna?

Overall it is a decent jammy song, and they could do some good stuff with it.

Maybe the time is right to revisit 90s GD. I happen to have 6 2 95 in the car stereo currently.

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2 years 11 months
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I was there, I had a great time. We were sitting right down front..

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10 years 2 months

In reply to by Oroborous

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That may have been a National characteristic, and the hippie/freak - whatever- community in England may have been more laid back than the American version - but that wasn't really a characteristic of live shows by heavy, punk, rock n' roll bands I saw here over the decades. Right up into the 21st Century you were taking your life in your hands if you ventured near the front at a Cramps gigs. And they weren't visiting Americans. In fact I'm not sure all of them were Earthlings.

In some ways, American Dead shows of the 1980's -90's remind me of the early rave scene in Britain. Thousands of young people getting together, taking ecstasy/speed/acid and having what sounded like near religious experiences. You couldn't hope to get any sense of what that scene was like unless you experienced it. It didn't fit on to a cd. Not that I ever went to a rave - just my impression talking to them that had.
Incidentally, more people seem to talk about what drugs they took at Dead shows than with any other band I know of. Of course drugs were taken at all sorts of gigs, but with The Dead they seemed more fundamental to the experience.

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4 years 3 months

In reply to by daverock

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The Flaming Lips played at the zoo earlier this week. Watching people going in I could tell some of them were lysergic. I was able to peek in by the fence and could see there was quite a psychedelic light and stage show. Giant pink dancing puppets (like, 12 feet tall.)

I will always remember the "(doses)" people at my first GD show.

It was 2 more years before I went on that path.

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10 years 1 month
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In Aspen Sunday. It is really free, no ticket needed.
Part of their Raizado Festival celebrating Latinx culture.
Check the DOT website for road closures as I-70 and US 40 were closed yesterday for rock removal. And bring a raincoat as the monsoon is on us.
Cheers

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4 years
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First psychedelic hit? Fascinating question! Somebody must know that.

Probably not “Time of the Season” though since that came out in 1968, according to the Google lords. I was but a wee lad at the dawning of the First Psychedelic Era, but I do remember some very strange sounds emanating from my Christmas stocking transistor radio somewhat prior to the Summer of Love. I remember the Electric Prunes “Too Much to Dream Last Night”: looks like that came out in late ’66. Pretty sure the 13th Floor Elevators “You’re Gonna Miss Me” was even before that, though I don’t remember hearing it back then.

I spose the answer kind of depends on how you define “psychedelic” and how you define “hit”. Like, the Elevators were a very psychedelic band, but I’d say that particular song is more garage rock, even with the jug noises and Roky’s unhinged vocal. And a quick Google shows it only made #55 on the charts.

I’m going to propose some ground rules: in order to qualify as “psychedelic” the lyrics AND music have to reference or depict the drug experience in some way, and in order to be considered a hit, the song had to be in the top 40.

So, how about “Eight Miles High”? Now that tune is undeniably syke-a-muh-delic in word and deed and it made #14. Yeah, I’m voting for “Eight Miles High.” It came out in in March of ’66.

The again, there’s always those Weedy Beatles to consider. “Day Tripper” came out in December 1965 and made #5, it says here, and it’s at least kinda sorta psychedelic: that guitar break, the nudge-nudge-wink-wink use of the word “tripper”. Hmm. Borderline, I think. I’ll have to think about that one.

Been on a deep dive through ‘70s fusion just lately: lots of Mahavishnu, Weather Report, Herbie's Mwandishi. My cat is starting to wonder what’s going on.

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Bob Dylan - Rainy Day Women #12 & 35
… the single was released in March 1966, which reached numbers two and seven in the US and UK charts respectively.
Fun fact - 12 x 35 -= 420

Honorable mention - White Rabbit by Jefferson Airplane

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17 years 3 months
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After growing up listening to Live/Dead, Skull and Roses, and Europe 72 ... and my cassette recording of the King Biscuit from Orpheum '76 ... I stood in line outside of Kiel Auditorium at sunrise to score tickets to my first show. I remember being dissapointed; listening to this CD confirms my memory. At least I got a cool tasting glass.

See My Friends by The Kinks was released in summer 1965. I think that's an example of what some people now call "accidental psych" - experimental, innovative pop music that introduced elements which were later used by more overt psychedelic bands. "Happening Ten Years Time Ago" by The Yardbirds from 1966 would be another of those.

Donovan recorded "Sunshine Superman" in December 1965, although it wasn't released until 1966. He was real psych pioneer, Donovan, but because a lot of his recordings were held back, when they were finally released he came across as more of a band wagon jumper than the innovator he was. That clip in "Don't Look Back", where he is confronted with a sarky Bob Dylan didn't do his image much good either.

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Good thing it's outdoors. I've seen the Lobos several times, easily the loudest band I've ever heard, with three guitarists. At the fillmore, the sound bounces around the room, a real cacophony. Outdoors, they are great!!

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7 years 11 months
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As a 44+ year Dead collector, this was an amazing surprise! I was ambivalent about this release. I have complete Dick's and Dave's Picks and think I might just rank this show in my top 10. Can't stop listening to it. Keep 'em coming Dave!

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17 years 4 months
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My copy finally arrived today. I even found time to listen to it all. To my ears it sounds like a very competent performance but the band are hardly on fire. Still, better than I had expected. Fortunately not a lot of Fisher Price piano and very little Brent lead vocal. Solid.

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Very divergent opinions, including a disappointed first show, yet here 44 years later when it's released because he didn't ask Cowboy Neal to let him off at the next stop, up to a top 10 DiP or DaP. I'd call that running the gamut. I myself was in the middle. Agree on the less tinkly piano, but was astonished at why I wasn't really hearing his vocals, because he hadn't gotten that full raspiness, he still sounded sweet. His high harmonies at times sound like there's still a female vocalist. A good show, better than DaP 31, though I was happy for an Althea finally with that one and liked that Jack a Roe with Mickey doing the cannon thing on the drums. I'd be prepared for the next show from this tour to also not be 12/1/79. Dave pretty much gave that away, he's doubling down on turning everybody onto the shows that are better than 12/1. At least that's my somewhat cynical take on it.

Daverock, Donovan was great, and ahead of his time. Taught the Beatles finger picking while they were in India together, quite instrumental in the White Album that followed. Sunshine Superman is one of the earliest, if not the first session to feature Jimmy Page on guitar and John Paul Jones on bass. Page claims playing on half of the songs put out from London in the mid-60s, and JPJ was also a popular session musician, but I think this may have been their earliest together, think I read that somewhere. And of course, There Is a Mountain had such an earworm of a melody that Jerry Garcia would play it in Alligator often, and later occasionally in GDTRFB, think I heard it teased in He's Gone once as well. And Duane and Gregg Allman, opening for the Dead as The Hour Glass caught a few of these, and Duane decided that would be suitable for a jam up to an hour, but typically a good half hour of jamming one little theme. (I suspect New Potato Caboose also caught their ear, because it sounds remarkably like Dreams, which Gregg wrote in LA before coming to Jacksonville.)

Okay, now off to the Phish from Vermont at SPAC. Didn't go last night, and okay with that setlist. Only bummed about Simple, means I will get to 20 shows without seeing one, got to be an insane aberrational stat, like seeing 20 Dead shows and not seeing a Wharf Rat or something of that nature. Oh well, gonna You Enjoy Myself and feel good about Hood and not worry about being a Slave to the Traffic Light, and if I am, can always get a Tweezer to while away the time.

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In reply to by alvarhanso

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Alvarhanso - good to see you giving the thumbs up for Donovan. I saw him in 2011, when he played the entire "Sunshine Superman" album live at The Royal Albert Hall. Shawn Phillips played sitar on a number of tracks, and Jimmy Page himself came on for the actual song. A great concert all round.

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I also like Buddy Miles version from his solo album.
Nice horn arrangement on that one.
Did band of Gypsies with Buddy ever cover that I wonder?
Cheers

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Just saw the Flaming Lips last night at the Kettlehouse Ampitheater in Bonner Montana. Good show, cool venue, and the pink puppets that Proudfoot saw at the show he peeked in at were supposed to be the pink robots that Yoshimi battled as the first set was a start to finish run through of the Yoshimi Battles the Pink Robots album. They put on a good show and, yeah, they are pretty psychedelic, well worth checking out. Lot of cool, genuinely weird and groovy stuff in their catalogue.

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Yellow sun is goin' down so slow
(Slow, slow, slow, slow, slow, slow)
Doin' acid and watchin' the light bugs glow
(Glow, glow, glow, glow, glow, glow)
Like tiny spaceships in a row
(Row, row, row, row, row, row)
The coolest thing I'll ever know
(Know, know, know, know)
John's still a greaser
And Tommy's gone off to war
James got busted
And doesn't give a fuck anymore
Oh, my God
Why is it them?
Oh, my God
Now it's me
Orange flowers bursting into bloom
(Bloom, bloom, bloom, bloom)
Neptune, Saturn, Jupiter, the Moon
John's still a greaser
And Tommy's gone off to war
James got busted
And doesn't give a fuck anymore
Oh, my God
Why is it them?
Oh, my God
Now it's me
Oh, my God
Why is it them?
Oh, my God
Now it's me
Hmm, yeah
Alright, cool

Sounded great live.

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John Cipollina would have been 80 on August 24. He died way too young, on May 29, 1989, at age 45. His cause of death was alpha-1 antitrypsin deficiency, which he suffered from most of his life and which is exacerbated by smoking. I had the honor to interview him twice for Dead Head TV, and he had a wicked sense of humor. Today in his honor, I have re-released the Dead Head TV tribute to John which aired a few months after his death.

Check out the DTV tribute to John Cipollina on dreamswedreamed dot com.

RIP Bob Barker. Not a music figure, but a legend is a legend.

Also, I happened upon Quicksilver Messenger Service Happy Trails earlier today on that music streaming tube. Now I find out it's John Cippolina's birth date.

Cool. Thank you, JC.

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One of the true greats. He got one of the best sounds out of an electric guitar of anybody I have ever heard - and "Happy Trails" is a great album . Another one to look out for from this lineup of Quicksilver is the "Live at The Fillmore" double cd set from 6/7/68. It's come out in various formats over the years - but that one has the best sound. Similar songs to the ones on "Happy Trails" but with the added bonus of a few songs from their first album. Higher energy than "Happy Trails" but maybe less spacey.
I nearly mentioned the 4 man Quicksilver band - with both John and Gary Duncan in the lineup - as one of the bands I would most like to have seen but didn't.

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Indeed one of the great guitarists. I don't think Quicksilver ever made it across the pond but I was fortunate enough to see the Gravenites - Cipollina Band at Dingwall's Dance Hall in Camden, north London. Two greats in one band! Nick Gravenites has always been a favourite of mine and to see him onstage with Cipollina was a wonderful experience, particularly in a small, intimate venue. With Al Staehely on bass and Marcus David on drums they were a really tight band. As Daverock said, the sound that Cipollina got out of his guitar and rig was awesome.

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bout due for another binge, dug the 89 stuff I’ve seen so far!

Need to learn more about ole Batman, another great, and great band that I’m way behind the curve!

Bob Barker. Ever since I saw Happy Gilmore, I’ll never think of him otherwise again, which is nice!

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Great John Cipollina Documentary called Recoil, check it out. What a great guitar player!

in 1987 methinks when he played as part of the Dinosaurs. North of Seattle, a place called Parker's.

He, Barry Melton, Country Joe McDonald, and several others. Maybe Merl Saunders and Peter Albin.

I'm very glad I went to that show.

You know who was most pumped about Derek joining the boys? Yours truly. He and Jimmy Herring have been my top living guitarists for 25 years, and I was fortunate enough to catch Derek when he last sat in 7-7-99 in Charlotte. Caught him four days later at the same Blockbuster Pavilion with the Allman Brothers, on his first tour after Warren Haynes and Allen Woody left in March of 1997, Derek was wanted then, but was too young, so they had Jack Pearson for a year and a half before Derek got the job in '99, and held for 15 years. He blew me away that first time seeing him, but Dickey Betts was just as monstrous a player beside him, and pushed Derek as much as he got pushed. No matter what they say about Dickey's last year in the Allmans, all four shows I saw him play '98-'99, he was every bit as good if not better than Jack Pearson or Derek, still sharp, no signs of drinking, or being overly loud. Anyway, Derek shows up to jam with Phish was like a dream come true back in '99 at my second Phish show. They did Funky Bitch and Possum, the first a Son Seals blues tune, the second a Phish original that was tonight's encore, a nice easy blues rocker with tension and release. I already dug the show, but him on the encore was delicious cream cheese frosting on top (hate cherries). Five years later, I got to see him guest with String Cheese at the Jerry Garcia Birthday Bash, and it was just as exhilirating. They did a rocking, Allman-esque original into Wayne Shorter/Miles Davis tune Footprints, where Derek really lets loose. The String Cheese guitarist, Billy Nershi, makes a typical sarcastic remark as Derek leaves, that "He'd be good if he practiced more, jeez", which I recall the crowd didn't take as intended. Luckily, Derek didn't seem to mind, as he came back for the encore (after Cheese debuted Deal) of Way Back Home> On the Road, an African-prog tune that went into a middle eastern jam with Derek into another Allmans-esque song (Southbound).

Tonight's sit in with Phish was the last hour of the show. They could've whipped out a Derek and the Dominoes tune, an Allmans tune, hell, Joe Cocker. In the first set in Twist, I think (after they did a pronounced The Wheel Jam), Trey teased With a Little Help From My Friends, the Cocker version, just the Jimmy Page opening riff. Nice serendipity there. But the whole first set was quite good, from the rocking, classic Free opener to funky Wolfman's to solid Maze, the newer tunes were good, Pillow Jets sounds like a Who song and Sigma Oasis sounds a lot like Runaway Jim at the beginning. But Tube was nice and funky, a little spacey jam with Page on clavinet, then the Twist with Wheel Jam into the Hood I wanted. And I mean that, as it was a delightful Hood all the way through. Second set started nice and deep jam in Down with Disease (my personal first in 20 years, just 11 shows since then), but a smooth as silk segue to Ghost then led right to a major key switch a few minutes in, and thought they were gonna do Sweet Jane, nice jam into 2001, which basically served as an Elvis-like intro to Derek freaking Trucks.

He came out, they did Golden Age, a TV on the Radio cover, they killed that, then they did the newer Phish song Everything's Right, and had a raging guitargument onstage. It was glorious! A Life Beyond the Dream featured more measured fills by Derek on slide and standard. He was quite interchangeable. Most improbably after he handled two, obviously rehearsed newer Phish songs, they came to the end of the set for a raucous finish with First Tube. Never in a million years would I have guessed this one. They do the first "verse" of this funky, endlessly grooving instrumental with Derek accentuating, they get to "verse 2", and he plays harmony, and the crowd flips out. The encore break after the Jedi Trey feedback and general cacaphony of that crescendo had my ears ringin' somethin'awful in the long, quiet encore break. A lot of people were leaving to beat the traffic, but it seemed as if people were stunned silent. Anyway, they come back, and luckily, Derek is in tow again, and they launch into Possum, which was a fitting capper to an awesome night.

I stopped seeing Phish in 2003 after a terrible couple of shows in a row. Their breakup in 2004 didn't change that, but I did go to Knoxville 2009, it was great, Trey was sober, and they had obviously rehearsed and practiced the crazy difficult songs, so saw them basically annually when they came to NC. When I moved north a few years ago, thought I'd see tons of shows, but just two. And these are my only shows since COVID started. But since 2009, I've only seen one bad show, and one mediocre show, the rest have been good to excellent to legendary (for Phish). Those legendary would be 8-26-12 and 6-21-19, missing out on 6-17-11 by a Maxwell Smart that much. Just hope it doesn't take more devastation to get more shows.

By the way search the interwebs for tonight's show, the video may stay up on the youtoobs, last night is still playing, so tonight should be up permanently one would hope, especially since people might still give to the benefit linqs. Check it out, some awesome music tonight. At least, I thought so.

Not often you see those two names together. Still. It must have been great to see John C. with whatever band he was a part of - I never knew about that gig with Nick Gravenites. It was probably before I started travelling to London. The closest I ever got to seeing him live would have been that tour he did with Man, around 1975. It was over before I knew about it.

PF - when I first started getting Dead tapes, around 1987,the guy who used to do them for me was also into The Dinosaurs, and he did a few good tapes of their shows for me. Robert Hunter also performed with them sometimes.
Much later - 2004 in fact, I have it here, a double cd of The Dinosaurs came out - "Friends of Extinction" - one cd live, one studio.

As for Slade...the first rock n' roll record I ever got, in Fall 1971 was their single "Get Down And Get With It". There is a version of that on the 1972 album "Slade Alive!" that has to be heard to be believed. It has possibly the greatest rock singing I have ever heard from anyone from any era. Incredible tonsils that man must have had. My Dad thought it was hilarious.
They were desperately uncool at the time though. They started misspelling titles of their songs, and started to seem almost like a comedy act after a while. I still liked them, but I didn't go on about it. If anyone asked me who I liked, I said Gong.

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DaveRock- I have a retired firefighter neighbour that is crazy about Slade, one of his all time favourites. He plays guitar, even has a small studio in his home, and has everything Slade ever released legally, illegally, or in between. Except for the early 70s when I was in high school, I have never heard anyone ever mention them.

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Been away in Maine for the last ten days, holy smokes 15 pages of posts to catch up. Fishing, light hiking, nearly off the grid, no television, music from WERU Blue Hill and WMEB UMaine Bangor student station, eclectic mix to say the least. At Lobster Boat Races off Long Island Casco Bay, top speed was 63 mph, that's fast for a lobster boat. A very good friend had offered me lawn tickets to Phish SPAC, but that was a show too far. Did listen to the Friday night on the drive back, the noon Serious day after show, really nice version of Velvet Sea. Back just in time for a reggae concert last night, so Vermont, about 100 people dancing on the grass outside an old barn mountainside with a 5 piece band and local brewery, Thai buffet. LIve street music in Hanover today, Della Mae outdoor show Wednesday. Live music is the best! Hope everyone is having a great end of summer.

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I found a video of them pre-glam in 1969 outfitted in skinhead garb performing Martha My Dear. With a violin, no less.

Truly bizarre.

I of course know Cum On Feel The Noize from Quiet Riot's cover in 1984. I've heard of Slade mostly in passing and as an influence on punk's creation.

Thank you for the insights, gentlemen.

PS crapcha images have begun showing up again. Please, NO!

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In reply to by proudfoot

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Never owned anything by them but enjoyed their early singles once they’d abandoned the skinhead phase. Unfortunately, for me at least, their name is forever associated with the Xmas song which seems to be playing on a loop in every shop that I go into in the run up to Christmas. Over the years I find that I just don’t want to hear it again.

I noticed a short article in my newspaper the other day saying that a study had identified that machines could identify Recaptcha items faster than humans so they’re not very useful anymore.

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Slade were a great singles band for a few years, I really liked them as a 12 year old but I think an album of their stuff might be pushing it a bit. Comic glam. Noddy Holder did have a phenomenal voice. I think they were from Wolverhampton, same neck of the woods as Robert Plant. Their Christmas song ' Merry Christmas Everybody ' is by far the best Christmas song ever produced and the royalties from it has made them rich men, it's omnipresent for a couple of months in the UK leading up to the end of the year.

I saw the John Cipollina-Man tour at the Southend Kursaal Ballroom Dave. All I remember about it is my mate throwing up over my shoes. We'd taken something that didn't agree with him.

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In reply to by Nick1234

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There was a split in England, from about 1969 to 1972, between "albums" bands and "singles" bands. Bands who had hit singles were considered to have less artistic merit than those who had hit albums. Slade were firmly in the singles band category - along with T. Rex once they'd gone electric. Albums bands - some of them, like Pink Floyd and Led Zeppelin didn't even bother with singles in that time span. Singles bands were deemed to be for teenyboppers, or worse...girls.
Occasionally, a heavy band would have a hit single - Hawkwind had one. But they always professed to be embarrassed by it, saying it wasn't typical of their work. Even though it was. And they wouldn't play it live until their popularity started to slide a bit.
It seemed to end, this way of looking at things, with David Bowie, Roxy Music, Rod Stewart/The Faces, Mott The Hoople and a few others who were good in both formats. These bands and artists seemed to have less to do with the late 60's culture than pure albums bands.

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In reply to by daverock

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You have seen me post about my late friend Craig. He had many official releases and box sets of GD. I got his bootlegs and his widow kept the official stuff.

She is interested in selling some.

The question is...

Where would be the best place to offer it all up? eBay comes to mind, but there must be other places to sell it for a good price.

Any insights on this are appreciated.

I've never done it online, but I have bought a few ( and then some) off discogs, which lists private sellers. It looks as though it might be quite secure site for sellers, too - especially if they have quite a few items to sell.

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I think DaveRock is right - Discogs would be one of the better sites to sell the items one at a time, to ensure that items are sold for their proper (ie - rare, collector status, condition, etc) value. Selling to a marketplace vendor, such as the ones on Amazon, would likely pay for the whole, but not take into account value for rare pieces. Discogs recently did some upgrades (they said in a mailing) to ensure their system was secure; PayPal is a requisite.
I’ve wondered about the same thing, too, as my brother in law passed a few months ago, and he had a pretty decent collection, so his widow is wondering what to do, and I’ve wondered what I’ll do to sell my modest collection - I’d certainly look into Discogs, but it will take some work and some time to sell a collection. You’re a good man for helping her out, good luck!

Derek Trucks playing with Phish would have been epic. I’m hoping the Sirius channel replays it again.

Edit - Proudfoot - Dennis certainly knows a thing or two about collections, and may have some great ideas. Put up the Dennis Bat signal, and see what he says.

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In reply to by That Mike

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PM

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It was definitely electric ( and acoustic), what an absolute blast! French's Camp is up in the Redwoods right next to the Eel River. Garcia played a great show, and it was one loose scene. Definitely the coolest place I've ever seen a show! Big Fun!

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....if I go before my wife, I believe she would do me right

PF - I might be well out of order here, and I apologise if I am, but I wondered if it would it be acceptable to offer box sets for sale on here, given the circumstances you describe. If so there might be a fair few conditions - including not shipping outside the U.S. ,which would be fine by me. It was just a thought. Might be a hassle, thinking a bit more!

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...Speaking of killer vocals. Uriah Heep anyone?? Surely David Byron qualifies??

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