Grateful Dead releasing 80-disc Box set of previously unreleased live shows

[Booche]

10 – 27 – 1990

 

Oh to be young and free riding the rails seeing the Dead in Europe. I was kinda surprised they didn’t choose Buffalo or one of the other excellent shows from the previous summer since it was the last chance to showcase a band on fire with Brent Mydland still in tow but hopefully that means a couple of dvds are planned for the future. None the less, it must have been a trip inside (or outside) an already trip. Hell In A Bucket opens what must have felt like being at the zenith inside the Zenith. Jerry sounded ripped and ready for this one. A high energy Bucket indeed with the two newbies on board, Vince Welnick and Bruce Hornsby.

 

Sugaree was up next and what a nice one-two punch to begin the two night stand in Paris. There are some nice swells inside this version with both drummers extremely engaged. A Perfect semblance of the Dead laying firing everything they had while also allowing other sections to lay right out with no one really taking command while they let the song speak for itself.

 

New Minglewood Blues set the tribal stomp going forward. When Bob got to the “couple shots of whiskey” my first thought was that both he and Jerry better start gargling with that stuff because they sounded like a potential nasty cold was coming on. Let that be a lesson to you kids out there. Pound some whiskey when you feel something coming on. If that didn’t kill it nothing was gonna. I would also recommend staying away from the Parisian fillies but I am sure my words won’t stop you so take two and call me in the morning. If those words of wisdom weren’t enough of a warning then hopefully the always welcomed Jack Of Roe that followed helped spread some wiseness.

 

Another great song choice in Black Throated wind greeted what sounds like an appreciatively boisterous audience. I often wondered what the percentage was of North American followers versus local onlookers was like for this tour. All I can say for sure is that I recall one night Dave Scully telling me he happened to be in Paris when these shows came to town. “The Dead are here????” – and off he was to buy tickets at the local offerings. Talk about being fucking lucky. If that isn’t plunging like stones from a slingshot on Mars then I don’t know what is.

 

Ramble On Rose was a fantastic call here given how many different characters are offered during the song and gave an idea to my previous wonderment because when Jerry sang “just like New York City” a good contingent made it well known that was at least somewhere they had visited if not lived at one point if not currently. Masterpiece came out next and seemed like the right call here although this song was starting to get wildly complained about due to its frequency. A spirited version which led into Bird Song and here we go.

 

Where might this one take us with these new voices offering their ideas? Vince was certainly laying low on the vocals compared to where we would find him a few short tours from now. That may have been what he signed up for, based on interviews given after he joined the band, but my mind wouldn’t know anything until we get to the open ended jamming portion of the band. Garcia certainly gave those newbies a chance to say whatever was on their mind. Hornsby sat back way more than I would have guessed but at the same time I had to strain to hear him. Anyone else here think of GD50 as you read that? Anyways, no one really ran with this one. It’s not a bad version because it stands on it’s own but when you compare it to what had been happening with Brent Mydland it’s hard not to notice the gapping hole he left with his sudden departure from this world. The Promised Land offered one more chance to get your dance on before set break but before that happened I couldn’t help but wonder how it is now that Bruce is making himself well known. Phil seemed more engaged thanks to this but then again Phil was always one of my favourite players on this song. He would provide Jerry with all the fanning opportunities his heart desired. Thankfully everyone was feeding off him during this one.

 

A well spent break allowed the crowd to quickly realize that China Cat Sunflower was the call so they clapped it in for Jerry and he, as he always did, followed perfect suit. That guy could obviously jam with anybody. Before I knew it I was reminded of how much I love the Europe ’72 version even though this is such a grand departure. The entire segue into Rider and that song was just too much fun not to have thought of things you love.

 

Saint Of Circumstance was Bob’s most excellent choice and made a welcomed first appearance with Vince in the band. He starts dropping a wicked deep drone during the all out jam which helps take this one next level. Absolutely a must-hear version as long as you put it on too loud. Jerry brings out Crazy Fingers and I am completely sunk into this set thanks to this song. It’s so welcomingly warm and golden. I won’t be surprised if it becomes my favourite song of the set. The perfect click.

 

Playing In The Band makes her way into the fray and I shouldn’t feel surprised. This was a fantastic modular run. The only shame is that it didn’t keep going. Short and sweet works because according to Murphy’s Law this may have petered out and not been as great as it is. It’s so perfectly weird. Ever sat at a table or a campfire and listened/watched your friends have an insane number of conversations while talking over one everybody but to you it all makes perfect sense because somehow they are all clearly hearing one another? Imagine that leading to psychological fallout which is soothed by Drumz. The lead into Space is flawlessly fun between Bob and Mickey which eventually gets to more awesome weirdness that left me wondering why I don’t listen to this band 24 hours a day…..but maybe I am…............and before you know it Playing In The Band is making her foray. For my money this stuff is what the Good Ole Grateful Dead are all about.

 

And then Stella Blue which was sultry. Thank you.

 

Throwing Stones brought back some focus to all involved. This song is such a rallying cry, especially when Bob gets to the “We are on are own” cadence. Every time I hear it I get equally enraged and engaged about how I can do better in hopes of helping our world thanks to the message provided before but then it happens. Garcia takes a solo and I forget everything I just remembered for the thousandth time again. The game gets lost and no one has to take the blame but then I get to remember that we are trying to do something even though we have been put in a position in which our hands are tied behind one another yet the knots are loose. Apparently possibility is still a thing. The falling ashes are a warning to what may happen but as soon as you allow your love to Not Fade Away we might be able to fix things just yet. It’s all such a wonderful metaphor. Those two songs were meant to be together.

 

The quick reminder that it was Saturday Night from Bob made me spit. “Dude, you guys have just started this song” – for everyone who needs to know why Bob has got a bum rap, and believe me I don’t think he deserves it, this is a perfect example. I guess it’s akin to the wide receiver who ran the wrong pattern on a pass play that was designed for him. None the less it was a fun version and I am going to let you guess what the encore was but here’s my hint. Bob Weir had given it away during the last song of the second set.

 

https://www.youtube.com/watch?v=QRzESWrdQC8

 

 

 

PS: I listened to quite a bit of 1990 thanks to my tape trading and then internet stuff so I was incredibly surprised by how great a show this is even though I shouldn’t have been.

[c-towns]

On May 13th, the band releases a new boxed set, July 1978: The Complete Recordings focused on one very prolific month from a pivotal year, during which the band also recorded their Shakedown Street LP and performed in Egypt near the Great Pyramid of Giza.

The 12-CD set features full-concert recordings from five Midwestern shows, including performances in Kansas City, St. Paul and Omaha that have never been in circulation, as well as the band's first ever appearances at Morrison, Colorado's Red Rocks Amphitheatre. (The complete July 8th, 1978, Red Rocks show will also be available as a separate three-CD set.) Each show in the box is drawn from the legendary Betty Boards, soundboard recordings made by the band's former engineer Betty Cantor-Jackson — July 1978: The Complete Recordings will be the first official Grateful Dead release sourced from Betty Boards master recordings. Sample the collection with this exclusive stream of "Wharf Rat" from the July 8th show.

 

http://www.rollingstone.com/music/news/hear-grateful-deads-sublime-wharf-rat-from-first-ever-red-rocks-run-20160315

[Northern Wish]

Niiice. That Wharf Rat is as stellar as Lemieux promises in the article.

[c-towns]

Think you can rank the years better after listening to this collection Booche?

[Booche]

09-10-1991 MSG

As I was typing that date in I thought “I recall this show for some reason” and then as the band were toying around I immediately knew why because I heard that distinctive sound. Branford Marsalis was the guest appearance for the entire show. These were heavily played tapes back at the old apartment with DaveyBoy 2.0 and one of the rare times out of the 500+ Maxell XL II’s in which I possessed an entire show. Why didn’t I ever cash in my points? What a fucking stupid dirty hippie. None the less I am going to settle in for what is an incredible ride while possibly experiencing a nostalgic feeling for those days of wondering merriment joyfulness sometimes coupled with crippling fear, paranoia and anxiety. 

This was night three of a nine night run at Madison Square Garden. Imagine. That’s ridiculous but also gives you a small indication of how popular the band had become by this point, in case those summer shows at football stadiums hadn’t already told you. Shakedown Street comes bombing out and I can only imagine how happy this crowd was feeling. It’s immediately a full out dance party, even moreso than normal as many of those in attendance must have been wondering what this night might have in store. The last time, and first, Branford showed up at MSG was without hyperbole, epic. Had I been in attendance I may have shit my pants before anything began, although that could have happened at any number of Dead shows for differing reasons and may in fact have. Branford is definitely in for the long haul on this one because this Shakedown proves to be way too much fun. Garcia had a new coupling tone with his sound on this song.

CC Rider segues out and we are in the too much fun territory. I kinda think this cements it. If CC Rider is in a show then look the fuck out. This is such a wonderful version with a great Branford solo. Bobby seemed to be inspired by said solo when he took his. It’s as if Mr Marsalis always belonged and let’s not forget that Jerry and Hornsby are back there adding some fantastic color while everything seamlessly segues into Bob Dylan’s It Takes A Lot To Laugh It Takes A Train To Cry before you know what’s even happening. It’s a dream and harkens back to the Good Lovin’ > La Bamba > Good Lovin’ from four years earlier at the same venue. Those lucky MSG motherfuckers. As an aside, later day West Coast Deadheads complained that the band did the best stuff on this side of the continent which is a valid complaint.

Black Throated Wind came out next following a very short and soft reprieve from that solid three song opening. It’s completely solid. Bobby sounds like he is on his toes, literally, while being forcefully energized. Vince gave a hint to what sorts of sounds would be coming from him in the years to come. There’s a fantastic rhythmic crescendo to this one, complete with a minor fake ending. What a start to this show.

What’s that I hear? Oh yeah! High Time!!!!!!! Totally forgot about this one. Fanfuckingtastic. Just brilliant stuff from a band that has lost all their piss and vinegar due to hitting middle age but along the way learned to somehow become the best garage band the world (the one I know of) has ever seen. Total sweetness. I always get a kick out of “Tomorrow come trouble, tomorrow come pain” line in this song in the context of seeing it live. He was warning all of us. He was warning all of us. I saw the song once and hot-damn if he wasn’t bang-on. Still, he did also say not to think too hard about having said that soooooo……who’s holding?

Cassidy always suggested a sooner rather than later end to the first set so I was a bit set back when it started because at this point I had forgotten where the set had gone. Before I knew it I remembered what I had forgot because this version just sets off with Hornsby feeding empty spaces that everyone started to pick up upon. While Brent had a more powerful voice I certainly always enjoy Vince singing on this one. The inverted jam is initiated perfectly from Jerry, can you name another rock and or roll player who walked into solos better than Garcia, and the rest follow along with one big ear. It’s a stupendous build and possibly my favourite song of the set.

Deal ball bustingly closes this set which is so sad because these guys were just slamming their instrument voices back and forth together. You just don’t want it to end and at under an hour you just deal with the reality that the Dead doing a short and sweet first set is indicative of everyone onstage having an open conversation amongst one another. At the very least you can walk away knowing that as long as everything is on the table then anything can be discussed.

Help On The Way is a great start to the second set. Phil’s strings were absolutely buzzing and I always love hearing Bruce Hornsby play on this song. Everyone is completely dialled in when Slipknot rolls out, especially Vince, and Jerry just starts going off during the solo. He always sounded inspired to me when Branford Marsalis was on the stage. The two of them were just throwing it back at one another. Before you know it a really fun Franklin’s Tower came stomping over everyone’s heads with the crowd providing an appreciative howl when Branford took a solo. There is a lot of fun in here.  

Estimated was up next which provided Branford with one of the songs he had played on during his first onstage encounter with the band. I love the voice he adds to this song. It’s perfect. Bob sounded rather energized and I wouldn’t be surprised to learn he was doing his famous hops and head bobs during this one. Vince added his awesome synth during the “No no no no” part while Jerry, Branford and Hornsby offered a fantastic call and response. Branford sounds like he heads for his clarinet. The ending jam is slinky jazz with Phil providing a wonderful backbone. There is definitely an air of “we can go anywhere we want boys” because ideas are being thrown from every direction but the one they chose was also performed the first night Branford joined them at MSG on March 29^th 1990

What else could they have done besides Dark Star? I am sure had I been in the house I would have been anticipating those opening notes. It’s the perfect vehicle if you have a musician of Branford’s calibre playing along. It certainly doesn’t come busting out of the gates but there was a soft introductory flow. This is a sticky yet unclamped version full of ideas that are forgiving. An incomplete instrumental second verse gave way to Drumz so you wouldnt be remise to wonder if they planned on finishing the song on this night. Space followed up while painting an audio canvass focussing on the sounds of zero gravity but the question remains. What’s become of the baby? Sure enough, it’s back thanks to Garcia and it floats in perfectly. The second verse almost immediately happens which must have had everyone thinking they were done but one shouldn’t be so quick to judge. Weirdness is just getting started. It’s almost a second Space and this entire segment must have completely crippled those in attendance. Heck, I almost ran out of my house to find the nearest pay phone so I could call my mom collect to tell here that the Good Ole Grateful Dead has just ended my life but don’t worry because it is beautiful here and your first born son couldn’t be happier.

Much like another favourite MSG show from Bob Weir’s birthday in 1989, Dark Star perfectly slammed into I Need A Miracle. Who knew? A nostalgic band is offering nostalgia from the past two years at the same venue. I’ld venture to guess the crowd danced their asses off for this one.

Standing On The Moon was the next call to arms and one I absolutely always love because it is one of my favourite Garcia ballads. If I had a complaint it would be that the ending jam of Miracle was cut short because it seemed like those guys could have gone off but who am I to say. I love those G-C-D turnaround chords and feel like I could listen to Jerry doing them for hours on end. Actually, I probably have. This was a song that really grew from its inception in 1989. The arrangement didn’t change so much as the powerfulness did. I’m pretty sure we are going to get one during the next instalment in the series ;-)

Turn On Your Lovelight followed and brought the dance party back into full swing and I love the call thanks to the fact Jerry enjoyed employing a sax sound during this song once he started getting a solid understanding of his MIDI system. Branford is there and you are going to add another sax? Go for it Bubba because there is a good chance Marsalis is going to take off. Jerry thanks Branford for sitting in and then the band encores with one of my favourite encores (big fan of the ballad ones here) It’s All Over Now Baby Blue. Bruce brought out the accordion which thankfully garnered the fickle fucks with their complaint riding the subway to wherever they had to go. Another fantastic show. There are only 4 more shows to go and I have heard three of them before. Really looking forward to experiencing each thanks to the great sound this boxset has provided thus far.

 

 

 

[Booche]

" Think you can rank the years better after listening to this collection Booche?"

 

No. They do one show per year throughout this collection. I would have to re-read this entire thing to jog my memory as to which shows/years I really enjoyed, which I plan to do once I am done. I havent revisited anything yet. It's been a bunch of work just to get to this point even though I would have a show fucking CRANKED as I did normal household chores. In that scenario I would have to dry my hands in the middle of said chore so I could sit down and write something because the music was inspiring. Velvet has been the only person to ask me how I am doing these reviews and the best answer I can give is "focused background noise". There is typically music going on in my house as I am doing 'whatever' but when I put on one of these shows, which can run over a few days, I pay much closer attention to what is coming from my speakers. I can do a pretty good job of multi-tasking, believe it or not. 

If you are axin' me if I have preferred years based on my years of listening that would be a completely different question and one I am glad to answer at the moment seeing as I just posted my latest review.

I cant rank them as a 1 through 30 but I can say that my favorite era is easily 1972-1974. I cant even imagine what it must have been like to see them in those days. I am also a massive fan of 1989-1990 but I am biased because that is when I joined the fray seeing my first Dead show and then collecting tapes but I would think any self-respecting Deadhead who has spent a ton of time listening to their career would agree that there was a massive resurgence during that time period. Jerry's fingers weren't as nimble as they had once been but the power that came from their stage was undeniable. I am also a big fan of 1968 Primal Dead and the small bits of 1978 that I know. 1983 was a year that contained some fantastic stuff. I had a bunch of second sets from that year on tape. It goes without saying that 1977 was one of their best years. To date, I still haven't been able to wrap my head around it because it was a perfect storm but I can say I have never heard a show from 1977 that I thought was lacking. It's almost too clean, if that makes sense, but they definitely hit a stride that was unmatched during their career. Fall Tour 1994 is actually far better than most realize. I saw 5 shows during that summer which were extremely hit and miss, inside each show in fact, but Garcia must have gotten cleaned up because there is some great stuff from Boston and MSG a few short weeks later. I wouldnt hold it up as their best stuff but I have used it as an argument when people suggested the Dead "sucked in 94"

::rambleover::

[Booche]

I cant wait to delve into those upcoming 1978 shows. I was about to post that until I read up above and noticed C-Towns jumped all over that grenade.

That Red Rocks shows is the fucking tits. Everyone reading is going to want to hear that one. I first assumed it would be within this release. Seems to me like the organization is trying to get all the best stuff out there as fast as possible while their demographic are still willing to part with large sums of money. And why not? That's smart business. It's going to dry up soon and let this be a lesson to you Phish kids out there, that brand is doing the exact same thing. You cant play your hand right away. You need to save your cards for when they are going to do their most damage. HEY-OH! DEAD METAPHOR! 

;-)

[c-towns]

I greatly appreciate and respect the hell out of the work you're doing in this thread.

[Booche]

Thanks bud. If I am only writing for you then it's totally been worth it. 

 

 

[hamilton]

3 hours ago, Booche said:

Much like another favourite MSG show from Bob Weir’s birthday in 1989, Dark Star perfectly slammed into I Need A Miracle. Who knew? A nostalgic band is offering nostalgia from the past two years at the same venue.

How much of a wiener am I if I point out that this show was at Brendan Byrne Arena in New Jersey?

[Northern Wish]

13 hours ago, Booche said:

Why didn’t I ever cash in my points? What a fucking stupid dirty hippie.

I had the whole Maxell catalog - t-shirts, tape cases, that iconic poster. Hell when they cancelled the program I got on the phone with them and demanded they accept the points I still had in my possession to which they responded by sending me 100 XLII's (50 90 mins and 50 100 mins). Heady days.

[Booche]

Oh yeah, I totally messed that one up Hamilton. I'm the weiner for making that mistake. Subtract 15 heady points from my score.

[Booche]

03-20-1992

When I noticed today’s date I knew it was time I finally returned to these reviews. It has been twenty five years since we saw this absolutely wonderful show. An awful lot has happened to each and every one of us since then and boy, have things ever changed. It’s now funny for me to reflect upon because back then the cagey veterans of the Dead scene sure felt that the innocence of the world had disappeared so I can only help but I wonder what they would say now.

Back then if we wanted to know upcoming Grateful Dead concert dates we would have to use our rotary phone and dial 1-900-RUN DEAD. I think it worked out to a buck a minute which was no small price. You always wanted the speaker to talk faster. Needless to say, we would have try from time to time and hope for the best. You could also call it to get current setlists and the like but I wasn’t making that kind of money even though I felt very rich in youthfulness and spirit.

One night, about three months before the show, we hit the jackpot. The Good Ole Grateful Dead would be returning to Hamilton’s Copp Coliseum where I happened to see my first show 2 years prior. 03-22-1990 is fairly legendary amongst many of my friends because it was performed with sparkling energy and contained one of the best Scarlet-Fires of all-time. The band also allowed video cameras in for that one so there are a few great sources out there. Check this out and strap in for the segue because this shit is lit.

https://www.youtube.com/watch?v=5vC6sWMUvbE

We knew we were going back and we were finally going to see what Vince Welnick and Bruce Hornsby were adding to a room filled with dancing freaks. We didn’t own vehicles but we knew we would get there. Not long afterwards we procured tickets to both shows, a bus and a hotel room via a company that may or may not have been called Great Canadian Tours. Actually, you could have chosen to either see both Dead shows or hit Dire Straits in Toronto and then catch the Dead in Hamilton the next night. I was a MASSIVE (still am) Dire Straits fan and actually debated this for 30 seconds. “I can catch up with DaveyBoy for the second show”. It’s a darn good thing I didn’t because I would have missed one of my favourite Dead shows.

 

Over the coming weeks and months we spoke ad nauseam with excitement about what we had hoped to hear. At this point in my life I had given up on the idea that there was a God but for some reason as I would lay down to sleep every night and pray that I would hear the one song that has always meant everything to me.

 

With a couple of weeks to go we made some purchases that were planned as the items we would need to carry us through two nights of impending magic. At this point in my life it was unfathomable to me to see the Grateful Dead without the enhancements certain pieces of paper offered me. Speaking of which, are those pieces of paper a gift from God? I suppose that is a debate for another day.

After seemingly forever the morning board on our Greyhound bus was upon us. I certainly wouldn’t have slept too much the night before and I am positive DaveyBoy and I partied our nuts off. Nights before these big shows used to feel like Christmas Eve to me and anyone who has ever spent one of those nights at my parent’s house knows how we used to treat them. Too much of everything is just enough. We loaded up our gear and away we went, brimming with an engaged excitement that only the bravest of folk are willing to embark upon.

 

I don’t recall landing in Hamilton or checking in. I don’t recall the parking very much but I know we spent a little time in there to chug a couple of beers and eat the first bits of paper. I don’t remember handing in my ticket stub or finding our seats. I don’t remember if we ran into anyone we knew or who was on my left or right but I do remember the house lights going down and the roar. It was a thunderous applause usually reserved for a band who had just tore the roof off a joint and here we were collaborating in said joy without a single note having been played.

 

At this point in my fandom I was still very much a newbie and it`s hard for me to remember what I actually knew back then. One thing I did notice as we were starting to fly up to the ethers was that the sound seemed a little off during Hell In A Bucket. You cant hear it on this show as much as I experienced it live, which may have been enhanced due to the things we ate to enhance our perceptions but it`s certainly there and probably more so if I put this show on my big speakers and cranked the shit out of them. If memory serves me correctly it will be during the rest of the night. It`s a slight distortion that is predominate at the moment within Phil`s bass or perhaps the overall mix. I`m interested to hear if it continues because that will seem to indicate that this show was as hot as I thought it was should they have decided to release this show with things not being as clean as they could have been, especially considering they should have been able to find something audibly superior.

 

Althea was a real treat that night and one I was dying to hear. Garcia`s vocals come out much clearer here compared to my faded memories so this gives me hope things clean up real good although things are still a little distorted-ery. Hopefully things aren’t similar with the future releases and we may be getting a glimpse into why Dan Healy was eventually fired versus the ``trade you a patch for some blow`` rumours that circulated. None the less, Garcia is still very engaged by this point the band`s career even though many love to tell you differently even though they haven’t done their research. Well, at least that`s how I know. Those lame motherfuckers would serve themselves better if they knew who they were.

 

The Same Thing was a new one for us. None of us had ever heard it before by any band. At this point things were probably really weird and I am sure I was holding on for dear life. With the combination of the weird sounds I was hearing and Garcia playing a slide there is no doubt in my 48 year old mind that 23 year old Booche was losing his marbles. I was used to Brent Mydland`s sound/tone so Welnick`s synthy sounds were probably terrifying me during his solo. I was probably trying to catch my bearings as much as the band was trying to warm up. Brown-Eyed Woman followed and once again it was 

struggle. I am still not a big fan of this song but at least when you are in a room filled with 18 thousand people getting off on it you can catch a wave. Bruce Hornsby has been getting more into this show but at this point it’s the weakest of the trips series unless you were with me and DaveyBoy because ours either slamming or soon to be.

 

Mexicali is always a song I would, and still do, embrace due to my country tune leanings but they went into Maggie’s Farm this night which I would have lost in a bet because it was the first time I had ever heard this Dylan song. Bob jumped right into it and Bruce was right there to follow as if Garcia were the one playing piano. I loved how Bob, Jerry, Bruce (with some spirited singing and playing that engaged the fuck out of Garcia), Vince and then my boy Phil each took a verse. I recall after the show going through the parking lot while some young filly from the US who was on tour but didn’t get in was absolutely crushed that she missed the song as the setlist was read back to her. I still feel bad for the poor thing because it’s a killer version. She knew without knowing and it’s as if they were all finally warmed up and prepping for the Bird Song to follow.

 

It was if it was finally time for the band to stretch some legs as they proceeded to lay down a cavalcading version that proved they could still absolutely destroy any venue they were playing in with sights and sounds that no one else could touch. Phil leads the way and Jerry finds the layer he left underneath which is precisely the wave you always hope the band can catch. Jerry brings out his funny flute while Bob, Bruce and Vince find spaces to fill. It’s an IV drip of everything you didn’t know you needed.  Had I been a more experienced listener I would have had a solid guess as to what was coming but by this point I had completely forgot what I had prayed three months for.

 

The Promised Land flew out and you knew setbreak was about to be there so you might as well dance your ass of. I don’t recall the setbreak. I guarantee I was hanging on for dear life. My thinking would have been “Turn the lights off please. It’s too bright.” The next night feautured one the best best waves I have even been a part of. Tears down your face wave. We wouldn’t believe it wouldn’t stop.

 

The house lights came back down and the love in the room was magnified. Apparently I wasn’t the only one dreaming of this moment so the potential nightmare may go away. At this point of my career I had heard Shakedown Street but I didn’t know it. We had upped the ante during setbreak so everything was about to change again even though we hadn’t peaked yet on the last change. “Maybe you had too much too fast” became a calling card. Shakedown Street became another song I sought once I was back to the reality of collecting tapes. It added to sets. Little did I know this would be the only version I ever experienced while also being top-notch material.

 

As far as I am concerned, the dancing and energy comes through on this tape. Garcia sounds like he is dancing and I miss when “hoppy” referred to a Dead room full of bouncers rather than a way to explain a beer. Weir is so invested in this version he is throwing bones to Phil and Jerry. Garcia grabs a run that is unlike others and everyone follows. This may have been the live song/moment I realized that closing my eyes was better at a Dead show than leaving them open simply because the lights were amazing. I

can’t recommend this build enough. It’s a disco dance party and everyone is invited because the fluidity feels like it may never stop.

 

Man Smart Women Smarter proceeded to fall on the heels of a band who was locked and loaded. I can understand why some may complain this vamp showed up but at the time I fucking loved it thanks to being in love with the Aiko Aiko beats. I still love it. You will never hear me complain about this stuff, especially when Phil Lesh is pulsating.  One has to figure if he isn’t getting board playing two notes then something must be working. At this point we have entered cat and mouse territory with him and Jerry. Bruce struts out an accordion and layers are laid. Jerry jumps into flute mode and the table is set.

 

This is unbelievably similar to the angle I experienced this in. The only difference is that we were so high and it was so loud we didn’t recognize it during the first rush of folks screaming even though I fucking prayed three months for this Dark Star. It was so crazy loud in there I completely missed the intro. For years we have laughed how we were the last people in the house to recognize which song it was and then things got weird because it is Dark Star and you are high as fuck.

 

https://www.youtube.com/watch?v=ttgZ_mV2tow&list=PLA37AE9B26F608954&index=9

 

It would be interesting if there were a video of what I was seeing along with the emotions I was feeling. Have they made that app yet? At the same time, if you think about it using this show as a barometer, it makes complete sense I became such a fan of Phil Lesh. That fucker is just pounding it all night, sound issues and all. He’s been giving launch pads to every musician in the band. Its stupid awesome what he is offering. Of course it is and then we get an instrumental second verse that just slays. It’s a short and sweet and a slamming Dark Star that has what Dark Star should be. It’s easy to look at the clock and determine there is a great one there due to how long it is much as it is to seeing a short timed one and assume the opposite.

 

It bleeds into Drums. Our best Brennan friend danced his ass off. He didn’t fucking care. He was loving everything. One of the only things I recall seeing from this show was him giving his all during this segment. No one meant nothing to him. He was gonna have a good time to the beats……until he realized everyone was sitting down. I now remember who was to my left. Buddy gave’r and then we ate more paper. “We gotta go up again for the end” so we did but little did we realize we were about to be taken to the Amazon jungle. Would we have decided differently had we known? I cant say but we definitely went on a trip.

 

I cant even put into words for you how things progressed. By this point we were all melting harder than we had ever before but it all made sense. If you are going to lose your marbles somewhere wouldn’t it be best at a Grateful Dead show with everything already prepared for you? All we had to do was get through Space and we would be fine. We kinda did but then the Other One happened. That’s never fair, especially after the Space we just endured. Psychedelic warrior status should bestowed upon these moments. I dare you to do it in the comfort of your living room. Best of luck. People listening to this stuff may define it as garbage. I dare those people to do it righteously. Coming into Standing On The Moon you know this is a band who has dove off the deep end together and are bringing everyone with them which is what made the Jerry Ballad spot so special. 

Lovelight and US Blues brought us all back to reality again. Kinda. The reality of a Dead show but not the reality of the finality while having to deal with leaving. That’s another tale.

[Booche]

Yes. You are correct. I smoked ashittonofweed this evening. 

 

I would relive this show again with any of youse. 

 

[Big Wooly Mammoth]

must have been some special paper....Bruce Hornsby did not play with the Dead on this evening. His regular tenure, with the band, had ended in February of that year...

http://www.agitators.com/gd/bruce.html

I think that my favourite version of The Same Thing was when Bobby broke it out in Oakland. this is it. I believe that was called on stage by Bobby and just grew out of the preceding jam. 

A fun read - and a great line:  "Psychedelic warrior status should bestowed upon these moments."

 

 

[PassedOutGuy]

That's correct BWM.... Booche's 48 year old brain while still functional...is not in tune with his 23 year old self... we still love him all the same.

Thanks again for the great review Andre... my 44 year old brain only has brief recollections of this night as well.

[Booche]

"Bruce Hornsby did not play with the Dead on this evening."

Your website is badly mistaken. Bruce was in Hamilton for these 2 shows and was with the band for their 1992 Spring Tour.

#dumbasses

[bouche]

2 hours ago, Booche said:

"Bruce Hornsby did not play with the Dead on this evening."

Your website is badly mistaken. Bruce was in Hamilton for these 2 shows and was with the band for their 1992 Spring Tour.

#dumbasses

Yes, according to that site, Bruce NEVER played with the Dead in Hamilton.

btw, here's an old usenet post from rec.music.gdead from someone offering a recording from that show. See notes at the bottom that are clearly wrong.

Quote

Ok, already.  No more groveling please.  Here's the announcement for
the 3/20/92 Hamilton tape tree.  I've received many nice tapes on
the net over the last 3 years, so now's my turn to even up the score.

I have 1st gen audience tapes of the show.  Sorry, no DAT tapes for 
you DAT people.  We'll have to work something out.  Any suggestions?

Anyway, this isn't gonna be like those Boston trees.  This is gonna 
be quick.  If you offer to dub, please be sure you can get the tapes
out quick.  Last date for entries is Monday, April 6th.  Fill out this
form please:

-----------
Name:

e-mail address:

Home address:

Phone:

Will you dub?:

How many copies?:

Trade or blanks?:

Equipment?:

-----------

Oh yea, here's the sets for the one or two people who don't know yet:

Tape 1                          

A)                            
Hell In A Bucket               Bird Song
Althea                         Promised Land
Same Thing                     ??- yet to be determined filler
Brown Eyed Women
Mexicali Blues ->
Maggie's Farm

Tape 2

A)                            
Shakedown Street               Space ->
Man Smart, Woman Smarter *     Other One ->  
Dark Star ->                   Standing On The Moon
Drums ->                       Lovelight *
                               E: U.S. Blues

* Hornsby on accordian
otherwise, Hornsby on Baldwin grand piano

 

[Big Wooly Mammoth]

Well, Andre's 48 year old brain might be remembering things better than my 51 year old brain, and POG's 44 year old brain. And my reading skills could also use some work. Cause that site actually notes that Mr. Hornsby was indeed with the band on the night in question. 

Grateful Dead shows with Bruce Hornsby as a regular member:
All shows from 9/15/90 MSG through 3/24/92 Auburn Hills except.....

I thought that he had stopped playing with them regularly at the end of 1991, but I was clearly mistaken. 

(and I didn't even eat any paper at that show.)

so there ya go. 

[Freak By Night]

I was there too, not for the March 20th show but for the March 21st show. It was my very first Dead show. I managed to see several more before Jerry passed a few years later.

Bruce Hornsby was definitely part of the proceedings that weekend in Hamilton.

[PassedOutGuy]

Well there you have it.

 

Point Bouchard.

[Booche]

Yeah, says the guy who was at the show yet agreed with the take that Hornsby wasn't in Hamilton. Pretty sure we know what you have done to your brain in the intervening years:

 

[Booche]

 

[Booche]

03-27-1993

BradM told me numerous times how much he loved reading these reviews so it seemed like a good idea to put on the next show in his honour because we all love him so very much. Let’s turn it up a notch!

1993 was the year when I noticed the biggest change within the music of the Grateful Dead. I only had started seeing them in 1990 and by this point I was an avid collector of their live shows. I could have probably paid a month’s rent from the Maxell points I had accumulated and maybe I would have had I known that impending death knell.

Hell In A Bucket is always such a welcome opener and this one is a ton of fun. Bob and Phil are right on top of it while Vince proves he is the most underrated member the band ever employed. Jerry spiritedly plays while one wonders how long it may last because that was the era we were living in at the time but I am guessing this will be a good one since it ws included. Bob Weir expends a ton of vocal energy during the “at least I am enjoying the ride” while the rest of the band takes off. Bertha comes up next and it’s immediately clear that Phil Lesh is taking this show by storm. I wonder if he was dressed in green that night because the ending vocals smoke. The Same Thing makes an always welcome appearance. This cover was undeservedly underappreciated and this version proves why. Jerry Garcia is playing a slide guitar. Come on. How often did that happen in 2300ish shows? This is a great example of how the good ole Grateful Dead could have simply been a blues band at this point in their existence.

Peggy-O makes a perfect appearance that will drop anyone to their knees, as most versions do. When Jerry feels this storyline you best put on your seatbelt because you may end up either crying or falling on the floor, sometimes both. This is an exquisite performance with Phil slamming a perfect backend. Bobby follows up with a very spirited cover of Bob Dylans’ Queen Jane Approximately and then Phil does Broken Arrow which solidifies this show as a must-listen. Can you show me the sign? Loose Lucy rears her ugly head with a killer groove with Vince sounding like he has been there since they started and walks into a completely psychedelic Cassidy so our beloved band is officially off. It’s a shame they had fallen into their own trap because when Casey Jones ends the set you don’t want them to take a set break. All love from the crowd.

Eyes Of The World opens the second set and you immediately feel the drippiness of this show. Phil is clearly driving this bus and its one that may take us any place we want to go which is apparently Estimated Prophet. Obviously these aren’t the days when Eyes > Estimated were a staple but this is a very fun version and the drummers are pushing Phil et al. By the time Vince pulls out his saxophone sounds everyone has coalesced while Bobby tries to recreate his earlier vocal “worry about me not” days. This is fantastic stuff and a show one can put on to argue others who suggest that the Dead sucked in their later days.

I would kill to have these shows still going again and then Garcia drops Comes A Time on unexpected ears. What better argument is that? Boys and girls,only love can fill this groove which walks right into a personal favourite Corrina which happens to be a fantastic version and a song that I always felt was ridiculously underrated amongst Deadheads. Garcia would get down and dirty which this version provides. There is some nasty sustain. Phil, Jerry and Vince take off at the end of this one thanks to the depth that had been found from the band.

They slowly follow their way into Drumz which had become one of the highlights to look forward to during many shows by this point, an argument I will make until I take my last breath. There is no denying the Jerry Ballads were the big reason we all kept going but when you look back upon this period the combination of the lights and sound were positively mesmerizing, if not hypnotic. I genuinely miss those moments more than I thought possible even thought they seemed like a struggle at certain shows. The tail end of this Drumz facilitates sounds bouncing back and forth through speakers prior to Space, which clearly becomes an exercise in melodic madness.

The Wheel is one of my favourite post Space songs so things felt right. After all that craziness it always made sense to me to slowly stabilize and that’s what this song has always done in this slot. All Along The Watchtower slams out and it’s clear things are slamming because Phil Lesh has said so. Everyone seems to do this song but what has always made it for me is the bass great Lesh filling approach. All of a sudden I forgot about the Garcia ballad slot but become slammed in the face when it appeared. Days Between strolled out and steamrolled this entire show proving once once again these moments were why we kept going again and again even though this was a brand new song. No one cared because a hopeful candle lingered in the land of lullabies.  It was obviously a Saturday night and then the band decided the wanted to get the fuck off stage quickly because they fought the law and the law won. This was a far better show than I expected and I recommend it entirely.

David Lemieux knows the deal because this show is consistently solid throughout and I fucking miss BradM so much.

[Booche]