• https://www.dead.net/features/philly-89-now-available
    Philly '89 Now Available

    Here’s a cool way to kick off the new year and decade: with Crimson, White and Indigo, a DVD/3-CD set that captures every second of the Grateful Dead’s superb July 7, 1989 concert at Philadelphia’s John F. Kennedy Stadium. If you loved the popular 2005 DVD/CD release Truckin’ Up to Buffalo, from July 4, 1989, well, this is the very next show: why, it’s practically like being on tour without having to pitch in gas money, eat bad road food, swelter in the heat or score a miracle ticket. Nope, all the work has been done for you—from the crisp multiple-camera shoot (with no video effects, you’ll be happy to hear) produced from the tastefully executed live screen video feed directed by long-time Grateful Dead collaborator and concert video guru Len Dell'Amico, to the crystal clear and powerful audio, mixed from the original 24-track analog tapes in both Dolby Digital stereo and 5.1 surround (for the DVD), and mastered in HDCD (for the CD). But the proof is (always!) in the playing, and this show from the sizzling summer of ’89 tour is sure to please both hard core and casual fans with its energy, diverse song list and passionate playing.

    Two years removed from the craziness that surrounded the “comeback” tour of 1987 and the Dead’s unprecedented flirtation with mainstream success—thanks to “Touch of Grey” and the In the Dark album—the group was still riding the crest of that wave and attracting thousands of new fans with each passing tour. The summer of ’89 began in style for the Dead on the solstice itself with a nationally televised/broadcast concert from Shoreline Amphitheatre in Mountain View, Calif. A week and a half later, the GD circus hit the road for seven East Coast stadium shows, followed by a handful in Midwest amphitheaters. The group was in excellent form throughout, offering a great selection of old and recent favorites, and polishing some of the new songs which would make up their album-in-progress at the time, Built to Last. Visually, the Dead’s stage set that summer was perhaps the most spectacular they ever mounted—designed by noted Czech artist Jan Sawka, it consisted of dozens of enormous painted canvas panels covered with various patterns, colors and shapes—some abstract, some concrete; quite an amazing sight in an enormous stadium.

    In what would turn out to be the final rock concert in Philly’s JFK Stadium (the first was The Beatles in August 1966; the aging stadium itself dated back to 1926), the Grateful Dead come out on a brutally hot afternoon (after a fine opening set by Bruce Hornsby & the Range) with rock ’n’ roll on their minds. “Hell in a Bucket” is an appropriate opening choice for a day that is nearly hot as Hades, and then Jerry takes the party to the next level with a truly inspired “Iko Iko.” He’s all smiles, and that’s always a good sign! From there, the first set dips into some blues (“Little Red Rooster”), Hunter-Garcia classics like “Ramble on Rose” and “Loser,” a potent version of Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again,” a wonderfully exploratory version of “Let It Grow,” and finally, Brent Mydland’s still-newish anthem “Blow Away,” which is one of his finest performances of that rockin’ tune.

    You gotta love a second set that opens with a warm and inviting “Box of Rain”—peppy and nicely sung—and then right on its heels a “Scarlet Begonias” > “Fire on the Mountain” that is as “up” and celebratory as you could hope for: The “Scarlet” breezes along with joyous purpose, and the “Fire” hits all sorts of mighty peaks; at nearly 25 minutes, it’s a spectacular pairing. “Estimated Prophet” is marked by a smoldering intensity and then the jam that follows settles into the majestic Hunter-Garcia ballad “Standing on the Moon,” surely one of their greatest late-era compositions, and played only seven times before this standout version. The DVD depiction of the “Rhythm Devils” percussion duel gives us a fascinating glimpse of the tools and techniques Mickey and Bill used to create their magical alchemy, and then, following “Space,” the band launches into a hair-raising, careening “Other One” (dig how the camera shows us Phil’s rumbling bass intro up close!), Jerry takes us down to the docks of the city for an emotional “Wharf Rat,” and Bob gets back into party-mode for the concluding “Lovelight.” The encore of Dylan’s “Knockin’ on Heaven’s Door” offers a beautiful grace note for a show that has taken us through so many different spaces and moods.

    The beautifully designed package for Crimson, White and Indigo (the name comes from a line in “Standing on the Moon,” of course) includes loads of great photos by Bob Minkin and an essay from veteran Grateful Dead observer Steve Silberman. All in all it’s a wonderful show from a great year!

    --Blair Jackson

    TRACKLIST

    CD 1
    1. Hell In A Bucket
    2. Iko Iko
    3. Little Red Rooster
    4. Ramble On Rose
    5. Stuck Inside Of Mobile With The Memphis Blues Again
    6. Loser
    7. Let It Grow
    8. Blow Away

    CD 2
    1. Box Of Rain
    2. Scarlet Begonias
    3. Fire On The Mountain
    4. Estimated Prophet
    5. Standing On The Moon
    6. Rhythm Devils

    CD 3
    1. Space
    2. The Other One
    3. Wharf Rat
    4. Turn On Your Lovelight
    5. Knockin' On Heaven's Door

    DVD
    DVD tracklist is same as CD

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  • KRIYAS
    14 years 7 months ago
    Wharf Rat Iko Moon
    I like this more and more with each listen. I agree with the sound difference from CD to DVD, with the CD's sounding better to me. The drums on the DVD during Rhythm Devils looks completely off, and Box of Rain might as well be an instrumental. (Was glad to hear those vocals on the CD.) But I watched the DVD once and may never watch it again so not too worried about it. Would rather have the choice to buy CD seperate from the DVD. To me the most powerful moment in this show is the Wharf Rat when Jerry and Brent sing the: 'But I'll get back on my feet someday The good lord willing, if he says I may I know that the life I'm living's no good I'll get a new start, live the life I should I'll get up and fly away I'll get up and fly away' It really hit me the other day hearing that song sound so strong. The emotions really come through the vocal and it sounds like its coming from the gut. I also dig the Iko Iko with the additional lyrics, since I've heard versions before, but never had a one of my own. Of course the Standing on the Moon is as good as ever, and with my brother still in Afganistan a lot of those lyrics are almost like a prayer to me right now. Overall I'm glad I love pretty much all Grateful Dead and this will find a lot of time in the rotation for years to come. Just digging some Pure Jerry Lunt-Fontanne this morning. The Acoustic Band stuff is so good, you know those good ole boys were just grooving having a good time!! Thanks.
  • Dead Ahead
    14 years 7 months ago
    Bozos know the way...
    These are good comments about the sound quality. I don’t see this as whining or disrespectful; I see it as an objective critique of how this production of the concert turned out. It baffles me how different the sound of this DVD is as compared to the Buffalo one. I find that the latter is about as good as it gets whereas this one pales in comparison (although it still sounds nice : \). How can this be when the concerts were only days apart in time and were presumably recorded with the same equipment? If the difference is due to Norman vs. McGinn, that is very telling.
  • new_england_dead
    14 years 7 months ago
    Brent Mydland
    When Brent Mydland joined the band in 1979 he added some rejuvenation to the band after Keith Godchaux hit some rough spots and finally had to leave. Brent initially had a higher pitch if you listen to the earlier stuff and the harmonies were actually bearable. Shortly thereafter he changed over to this growly tone which was not very soothing to everyones ears that were used to the three part harmonies the Dead were famous for in the early 70's before Phil lost his singing ability and the 76 thru 78 era with Donna. During Brent's change from high pitch to growly tone a lot of singers were trying to imiate Michael McDonald was this style was very popular.Maybe that was why. If you listen to some shows during the 80's Jerry's voice was very raspy and he almost made a full recovery in the late 80's to his 70's era great singing ability. Bob seemed to have the most consistant vocal ability over the whole Dead era. Built to Last with the high concentration of Mydland tunes won't ever be voted the best Grateful Dead album of all time goes without saying.
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Here’s a cool way to kick off the new year and decade: with Crimson, White and Indigo, a DVD/3-CD set that captures every second of the Grateful Dead’s superb July 7, 1989 concert at Philadelphia’s John F. Kennedy Stadium. If you loved the popular 2005 DVD/CD release Truckin’ Up to Buffalo, from July 4, 1989, well, this is the very next show: why, it’s practically like being on tour without having to pitch in gas money, eat bad road food, swelter in the heat or score a miracle ticket. Nope, all the work has been done for you—from the crisp multiple-camera shoot (with no video effects, you’ll be happy to hear) produced from the tastefully executed live screen video feed directed by long-time Grateful Dead collaborator and concert video guru Len Dell'Amico, to the crystal clear and powerful audio, mixed from the original 24-track analog tapes in both Dolby Digital stereo and 5.1 surround (for the DVD), and mastered in HDCD (for the CD). But the proof is (always!) in the playing, and this show from the sizzling summer of ’89 tour is sure to please both hard core and casual fans with its energy, diverse song list and passionate playing.

Two years removed from the craziness that surrounded the “comeback” tour of 1987 and the Dead’s unprecedented flirtation with mainstream success—thanks to “Touch of Grey” and the In the Dark album—the group was still riding the crest of that wave and attracting thousands of new fans with each passing tour. The summer of ’89 began in style for the Dead on the solstice itself with a nationally televised/broadcast concert from Shoreline Amphitheatre in Mountain View, Calif. A week and a half later, the GD circus hit the road for seven East Coast stadium shows, followed by a handful in Midwest amphitheaters. The group was in excellent form throughout, offering a great selection of old and recent favorites, and polishing some of the new songs which would make up their album-in-progress at the time, Built to Last. Visually, the Dead’s stage set that summer was perhaps the most spectacular they ever mounted—designed by noted Czech artist Jan Sawka, it consisted of dozens of enormous painted canvas panels covered with various patterns, colors and shapes—some abstract, some concrete; quite an amazing sight in an enormous stadium.

In what would turn out to be the final rock concert in Philly’s JFK Stadium (the first was The Beatles in August 1966; the aging stadium itself dated back to 1926), the Grateful Dead come out on a brutally hot afternoon (after a fine opening set by Bruce Hornsby & the Range) with rock ’n’ roll on their minds. “Hell in a Bucket” is an appropriate opening choice for a day that is nearly hot as Hades, and then Jerry takes the party to the next level with a truly inspired “Iko Iko.” He’s all smiles, and that’s always a good sign! From there, the first set dips into some blues (“Little Red Rooster”), Hunter-Garcia classics like “Ramble on Rose” and “Loser,” a potent version of Dylan’s “Stuck Inside of Mobile with the Memphis Blues Again,” a wonderfully exploratory version of “Let It Grow,” and finally, Brent Mydland’s still-newish anthem “Blow Away,” which is one of his finest performances of that rockin’ tune.

You gotta love a second set that opens with a warm and inviting “Box of Rain”—peppy and nicely sung—and then right on its heels a “Scarlet Begonias” > “Fire on the Mountain” that is as “up” and celebratory as you could hope for: The “Scarlet” breezes along with joyous purpose, and the “Fire” hits all sorts of mighty peaks; at nearly 25 minutes, it’s a spectacular pairing. “Estimated Prophet” is marked by a smoldering intensity and then the jam that follows settles into the majestic Hunter-Garcia ballad “Standing on the Moon,” surely one of their greatest late-era compositions, and played only seven times before this standout version. The DVD depiction of the “Rhythm Devils” percussion duel gives us a fascinating glimpse of the tools and techniques Mickey and Bill used to create their magical alchemy, and then, following “Space,” the band launches into a hair-raising, careening “Other One” (dig how the camera shows us Phil’s rumbling bass intro up close!), Jerry takes us down to the docks of the city for an emotional “Wharf Rat,” and Bob gets back into party-mode for the concluding “Lovelight.” The encore of Dylan’s “Knockin’ on Heaven’s Door” offers a beautiful grace note for a show that has taken us through so many different spaces and moods.

The beautifully designed package for Crimson, White and Indigo (the name comes from a line in “Standing on the Moon,” of course) includes loads of great photos by Bob Minkin and an essay from veteran Grateful Dead observer Steve Silberman. All in all it’s a wonderful show from a great year!

--Blair Jackson

TRACKLIST

CD 1
1. Hell In A Bucket
2. Iko Iko
3. Little Red Rooster
4. Ramble On Rose
5. Stuck Inside Of Mobile With The Memphis Blues Again
6. Loser
7. Let It Grow
8. Blow Away

CD 2
1. Box Of Rain
2. Scarlet Begonias
3. Fire On The Mountain
4. Estimated Prophet
5. Standing On The Moon
6. Rhythm Devils

CD 3
1. Space
2. The Other One
3. Wharf Rat
4. Turn On Your Lovelight
5. Knockin' On Heaven's Door

DVD
DVD tracklist is same as CD

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Here’s a cool way to kick off the new year and decade: with Crimson, White & Indigo, a DVD/3-CD set that captures every second of the Grateful Dead’s superb July 7, 1989 concert at Philadelphia’s John F. Kennedy Stadium. If you loved the popular 2005 DVD/CD release Truckin’ Up to Buffalo, from July 4, 1989, well, this is the very next show: why, it’s practically like being on tour without having to pitch in gas money, eat bad road food, swelter in the heat or score a miracle ticket. Nope, all the work has been done for you—from the crisp multiple-camera shoot (with no video effects, you’ll be happy to hear) produced from the tastefully executed live screen video feed directed by long-time Grateful Dead collaborator and concert video guru Len Dell'Amico, to the crystal clear and powerful audio, mixed from the original 24-track analog tapes in both Dolby Digital stereo and 5.1 surround (for the DVD), and mastered in HDCD (for the CD). But the proof is (always!) in the playing, and this show from the sizzling summer of ’89 tour is sure to please both hard core and casual fans with its energy, diverse song list and passionate playing.

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gone now...
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I've been listening to the tracks available at the "listening party" (ROR, LIG, & FOTM). Not nearly as bad as I expected it to be, based on all the reviews. True, the drums could have a lot more presence, but they're not entirely inaudible (as some people seemed to be suggesting). Some creative EQing and it sounded fine. 1989 was "my year;" I saw virtually every show they played that year, and loved every minute of it. So many peak moments that year. It's nice to have official releases of some of them, like the three summer shows that are available (when is DFH going to come out on DVD??!?!), the "Bobby's Birthday" show, and now this and the Warlocks box set. If this were a CD-only release, I might not bother, as the SQ really isn't that great. But to have the DVD makes it worth it. As for sound quality, though, the Warlocks set seems pretty fantastic. Only heard the Listening Party cuts so far, but the mix is superb. That's a must-have. Many thanks to the powers that be for making these shows available.
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I had the privilege of being at this show and the July 4th show in Buffalo. Those shows were rocking. Phila was so hot during the day and I just cooked. The energy of the Box into Scarlet is sick. My favorite scarlet and sotm of all time.