Grateful Dead

What peaked in ’78 – now that’s a worthy discussion. Yeah, ’78 is interesting, isn’t it. The set lists are damn close to ’77, at least until you get to the Fall, with the Shakedown Street material. Well, I guess as a starting point, I’ll go with the songs in the set lists for this here July 1978: The Complete Recordings box set (I love the sound of it, drooling here just talking about it). At least the tracks that I think had some notable moments in 1978: Bertha – kinda sort of peaked, at least as far as post-hiatus performances go. I like it best in 1972, as I do most of those older tunes. Veneta is probably my favorite, and most of the E72 versions are in the same ballpark. Like a lot of songs, it kind of mellowed in the ’74 versions (or at least it sounds mellow in the recordings we now have of it). Post-hiatus though, I like the 1978 versions best, as Jerry started delivering a biting, aggressive solo, and the Wolf’s sharp mid-range tone makes this one a rocker again. So maybe it didn’t “peak” in ’78 per se, but it returned to the forefront as a rocker. The Spring ’77 versions are just ok to me – they seem to be tame compared to what they would become in ’78. DaP 12 (Alright Hamilton!) and DP 10 in late ’77 start to pick up the aggression again, and then DP 18 and DaP 15 (Sleeper of ’78) are hot, as far as official releases, and 1/30 is hot on the soundboards. From Egypt With Love has a decent Bertha. I’d be remiss in my post-hiatus Bertha coverage if I didn’t mention DP 20, which has Keith in “rolling thunder” mode on the piano – love it. Cassidy – this is one of my favorite Bobby tunes, and it seemed to get better every year they played it, culminating in my favorite performance from DaP 7, 4/24/78 (Return To Normal with the Grateful Dead). Other great April versions are 4/10 at the Fox and 4/16 in Huntington, WV. I also enjoy DP 25 and 30 Trips ’78. What makes 1978 great: smooth and tight every time; Jerry’s solos step up from “feeling around” to “command and control”; Keith’s piano accompaniment has largely migrated from rhythmic chords to improvisational melodies (particularly during the Fare Thee Be Well Now arrangement); the outro jam section after FTBWN is smoother, longer and faster, with Jerry leading the charge for several more bars than earlier versions; but here’s where it really kicks ass time and again - Bobby & Donna have mastered the song as a vocal duet by 1978, and their timing and harmony is precise – really just beautiful every time. There are some great ’77 versions as well, but I think ’78 is when they peaked and the song reached its fullest potential. Estimated Prophet – The Jerry solo that takes hold around 3:45 or so and only in 1978 goes on for a minute and forty seconds typically, I think as long as two minutes on one of the soundboards I have. I also like the back-to-basics electric piano sound Keith employs, and the Dick’s Picks 18 mix is my favorite. But the outro jam also goes on and on in ’78, and the song times in at the 12 – 15 range, where it was only ranging from 8 – 11 minutes in ’77. Longer = better in Dead Land. The Music Never Stopped – The jam at 3:45 or so also goes on for two minutes, not so unlike Estimated Prophet. And it’s a great arrangement that they began developing in late ’77, coming to a face melting climax on DaP 7 (Return to Normal with the Grateful Dead) and DP 18. Donna also perfected her delivery of this one to its utmost in 1978. Just listen to her deliver some of these lines like “There’s a band out on the highway” and “Greet the morning air with song” – it’s fantastic, and it got much better with each year. Similar to Cassidy, she and Bobby reach a synchronicity with the co-delivery of the vocals on this one that is better and better with each tour. And then there’s the ending jam to this one, which also reaches its peak in ’78. I enjoy a lot of ’77 versions too, but it’s ’78 where all of this Dead things come together. Franklin’s Tower – what?? WHAT??? Ok, I enjoy the Holy Trinity as much as the next Dead Head, and it’s a damn shame they don’t play it in 1978 – or is it? Take a listen to 4/10/78 out of Stella Blue or 1/30/78 out of Drums. 4/10 is nearly flawless and it goes places that no former version went; 1/30 has an audience patch for just about 30 seconds before the vocals, and there are some missed lines by Jerry, but the music is all balls. Those two clock in at 13:37 and 17:09, so you’re getting your money’s worth. They really rocked this song up a notch in ’78, and while I’ll be the first to admit, this song fell victim to the ’78 sloppies at times, but they really hit the ball out of the park on a few of these, and unfortunately, you wouldn’t know it unless you’re a soundboard collector, as there are no officially release 1978 versions of Franklin’s Tower….until we get our dirty filthy hands on the July 1978 Complete Recordings box set in two months. I have not listened to the Red Rocks version, but I’m praying it’s even better than the couple I mentioned. I admit, it’s a new love affair for me, Franklin’s Tower circa ’78, so it will be interesting to see if I change my mind after revisiting ’76 and ’77. I’m massively disappointed that the new Dave’s Picks shows from ’76 do not have a version, but Red Rocks may quench that fire, we’ll see. Deal – I prefer the one drummer versions, especially the 1972 renditions, so like Bertha, I think the real peak is ’72; but for post-hiatus, ’78 is where Donna goes off the hook, don’t you let that deEEAAL go down style ending. I like it. Terrapin Station – I’m not sure. There are some extended passages in the Closing of Winterland version that I really like, but I don’t have enough ’78 Terrapin yet. We’ll say “possibly peaked in ‘78” on this one, and revisit after the box release. The ’77 versions are almost all perfect, but there’s something about that Winterland 12/31/78 version that grabs me, and while it’s my favorite version, I’m not sure that it’s consistent across ’78, and therefore worthy of saying it peaked. The Other One - for post-hiatus versions, it peaked in ’78 for sure. One listen to Dick’s Picks 18 and From Egypt with Love ought to firm that up. Wharf Rat – again, ’72 is the year if I had to pick one year, but it definitely had a revival in ’78 that made ’78 the king of post-hiatus Wharf Rat. Some good ’77 versions, but I think the Wolf brings out those spacey opening chords like I need to hear them, and the outro jam is hot hot hot (especially 4/22/78, the Sleeper of ’78) The Wheel – need more ’78 versions! But nothing comes close to Dick’s Picks 18, and the Wolf is largely the reason once again. I admit, I’m banking it all on this one version, but it’s that much better: the dreamy magic carpet ride that Jerry and Keith take you on for the first minute before the chorus kicks in is sublime, face melting, Deadness. And this song is to Jerry and Donna what Cassidy is to Bobby and Donna by ’78 – a masterful duet. ’76 had those drum intros that completely change the mood, and not for the good, which is presumably why Jerry did away with it in lieu of the guitar intro. ’76 did have a couple of long running jams at the tail end (30 Trips ’76 & So Many Roads), and you don’t get that from Dick’s Picks 18, but it’s not really The Wheel at that point anyway, so no need to feel like you’re missing that if go with ’78 for the desert island – simply cut the ends off of those versions and call them Jam. DaP 1 and DP 29 are two great ’77 versions that come close to the 2/3/78 gold standard that is DP 18, but not quite there. If you’re not familiar, put it on loud and maybe turn up the treble. Who Are You – never sounded better than ’78, except maybe that blistering live version from MSG after 9/11. Townshend’s guitar was on 11 with some extra cowbell that night. But outside of that live performance, the studio version right on Who Are You is the only place you need to……wait a minute…..

...with a psychedelic-painted face nonchalantly hooked her arm through mine...on a city street in Atlanta, GA in 1973. "Wanna see Zappa?" she asked. I knew Frank existed, but had never seen him live. "Sure," I said. "Here," she said, "swallow this." (Stupidly trustful?) I swallowed it...and followed her to the Fox Theater. She neither had nor showed a ticket. She eyed some guy at the door, who let us both in. On we walked...and walked...down the center aisle...and sat in the first row. Then Frank came out...with Napoleon Murphy Brock, George Duke and the rest. This was the greatest concert I ever saw. Frank was standing right in front of me...and he seemed 10 feet tall. The highlight was "Dog Breath," if you know the song, it starts out with 3 chords: hit hard four times...then five chords: pow pow pow pow pow! It was during those transcendent chords that I actually had the feeling of leaving my body...with no sense of panic. When the concert ended, the entire audience IMMEDIATELY stood up as one and demanded an encore that could not be denied...or forgotten!

Yes, to 3/21 and 3/22! We definitely got the 2 best shows as complete ones, as well as the rest of the jams on the bonus discs, but I bet if those shows were recovered today, it would have been box set treatment. I was recently fortunate enough to score the Rockin' The Rhein AOM Bonus Disc as well as New Year's Eve At Winterland. I can't get enough of the AOM one. It truly is a One Disc Wonder, perhaps the best example of one. What are some other ODWs? Of the top of my head, DP16 Disc 2 is a the one that gives AOM Bonus a run for it's money.

Yes, to 3/21 and 3/22! We definitely got the 2 best shows as complete ones, as well as the rest of the jams on the bonus discs, but I bet if those shows were recovered today, it would have been box set treatment. I was recently fortunate enough to score the Rockin' The Rhein AOM Bonus Disc as well as New Year's Eve At Winterland. I can't get enough of the AOM one. It truly is a One Disc Wonder, perhaps the best example of one. What are some other ODWs? Of the top of my head, DP16 Disc 2 is a the one that gives AOM Bonus a run for it's money.

Groovin to 3/22/72. this AOM run is freakin awesome! Should have been a box set somehow! 3/21 is a really good show also! The PITB absolutely smokes! Great all around! ;)

I teach history, and I'm from Kansas City originally - I've seen many a Chiefs game at Arrowhead. Thus, I feel compelled to add some historic context for the July 1 Arrowhead show. Enjoy. Video: The band Missouri playing "Hold Me" at Arrowhead 7/1/78. Some great crowd/stadium footage (good performance too): https://www.youtube.com/watch?v=_3uHya-Mc8U Poster: http://www.postertrip.com/members/images/3566a.jpg From "The History of Willie Nelson's Fourth of July Picnics": Willie played concerts at the Austin Opry House on July 4 and 5, billing both shows as Picnics. He also played a July 2 show at Texxas Jam in Dallas and a July 1 show in Kansas City, Mo. The traditional Picnic was still cooling its heels when Willie suggested having one at the Opry House to manager Tim O'Connor, and it proved to be a welcome respite from the heat and lawsuits. A few days earlier in Dallas, 25,000 didn't quite pack the Cotton Bowl ... and Willie admitted it just wasn't the same: "It's too controlled," he told the Washington Post. "I liked it better when it was out in the pasture." The July 1 event in Arrowhead Stadium in Kansas City was billed as a "Fourth of July Picnic," but is notable because the short lineup included the Grateful Dead. "We didn't have an outdoor location, and it was at a time when we had to kind of stay out of Texas. ... It was two nights and it was the coolest Picnic we ever had," said Tim O'Connor of the indoor mini-Picnics in a 1987 interview with the Statesman. http://stillisstillmoving.com/willienelson/the-history-of-willie-nelson…

As much as I've agreed with almost all of the bands listed so far, it is, in the end, a truly subjective exercise and primarily a function of personal taste. That said, I'd add the following American artists, who I don't recall seeing posted, as not only great, but important and influential (if overlooked in some cases). The Blasters Captain Beefheart Dispatch/State Radio Dylan Johnny Cash Galactic Hot Tuna Patti Smith Television Tom Waits Muddy Waters Chris Whitley Johnny Winter Wilco No doubt many others...to each his own.

Thanks for mentioning Tool! I have loved them for a long time. A Perfect Circle, Maynard's side project band is also a favorite. I will always listen to the bands I loved when I was 19 years old. PJ Harvey Jane's Addiction Nine Inch Nails Ministry Depeche Mode The Smiths Joy Division All the Seattle Bands of the early 90's. Red Hot Chili Peppers 311 Metallica Just to name a few....

A classic show with a classic lineup of the Mothers. It's the 50the anniversary of Freak Out in June and I've been going back through his catalog since January. I find the early stuff difficult to listen to, but the Teen Rock Combo years in the late 70's right to the last tour in 1988 has some amazing live music in circuation.

These lists have been great but it's disappointing I haven't seen T00L anywhere on these lists. With all the psychedelics, weird music and fun deadheads like to have it is always a surprise to find so few T00L fans in he dead scene. They even mention the band in a song of theirs, while it is rather tongue in cheek nonetheless it's there :) Seriously, start seeing them live and save some paper from Dead tour to take with you. Pleases and thank yous. Other notables not on a list yet and I'm sticking with rock (mostly) only too in an effort to be expedient. Kyuss Converge Heavy Blanket Voyag3r Dillinger escape plan Brian Jonestown Massacre Sleep The New Deal Nightmares on wax Morphine Das Muerte Faith No more Mr. Bungle Buckethead Nevermen