Thursday, February 16, 2017

Disco Biscuits/ Ratdog/ Phil Lesh and Friends, SPAC 7/22/01

I came to Albany in Fall of 2000 to attend SUNY. I came up with a big group of my high school friends and we had a pretty memorable first year. I did not do well in school. My parents were less than pleased and offered me a couple of options to avoid murder. I chose what I considered the best one: take some summer courses and try my damnedest to turn around my academic career. My buddy Justin and I sublet an apartment on Washington Ave in the heart of the 'student ghetto' as its known and got jobs as mobile frozen dessert vendors as we liked to call it. We sold Italian ice, lemonade,  Ben and Jerry's bars and soft serve at craft fairs, Albany city events and the like. It was not a glamorous or well paying job.

tie dye I bought on lot, now part of a t shirt blanket courtesy of momma dukes
My stub. Funny story about the ripped corner I'll share at some point
Justin and I shared an appreciation for jambands with Phish being the main act we had in common. We both dug the dead though and with the SPAC show coming up, decided to go and hatched a scheme: we'd buy two jugs of Guido's (yes his name was actually Mark Guido) homemade Italian Ice and hustle it on lot. We made a crayon drawn sign advertising our wares and tried to figure out a good cooler situation. Business was initially slow. I wasn't the best hype man at the time and Italian ice isn't exactly a standard lot treat though we figured it was a decent bet on a hot summer day. As the afternoon progressed the ice started getting soft and more and more folks were heading in. I think we were definitely shy of breaking even at that point but weren't exactly stressing, we were doing it more for fun than to profit. So we decided to start giving it away so we could go into the show. A funny thing happened though which makes sense now that I understand human nature and deadhead nature better: once we had a crowd of folks taking free yums, someone in the group would invariably give us some money. It kept repeating and soon enough we had made about double the money we had made actually trying to sell the ices hahaha.


We made our way into the show during Ratdog's Friend of the Devil. We had missed the entirety of the Disco Biscuits set and 2 songs from the Ratdog set. Its amusing to me looking back that I missed the biscuits set. Less than 2 months later I'd see my first biscuits show at Saratoga Winners (9/7/01) which began a lifelong relationship/ obsession with a lil jamtronica band from Philadelphia.

The Disco Biscuits Set
Terrific Audience recording from  Tim Danielson 




 Aceetobee, Shelby Rose, Helicopters, Jigsaw Earth (1), Home Again 

(1) With 'The Tunnel' tease


My memories of the other two sets is spotty and sparse at best and noexistent for the biscuits set since I didn't make it inside so the review is coming from my 2017 listening experience. Much like the Grateful Dead, the Disco Biscuits often struggle to translate the full experience of one of their shows to a shorter festival style set. I wasn't expecting all that much out of this set so was pleasantly surprised to find it to be pretty awesome and a good representation of what the band was bringing to the table in 2001. They start with Aceetobee at a leisurely pace indicating a comfortable band. They shook of their warm up jitters through the composition and found a plaintive and ethereal space for the jam. I think it was a cool choice for them to start this set with an extended jam rather than trying to catch the audience with a quick standard composition. The jam was very representative of the 2001 sound and stretched this Aceetobee out to nearly 15 minutes.


 Shelby Rose comes down the pipe next. The tempo is relatively fast for the tune. I haven't listened to much 2001 biscuits lately so can't compare to other versions from the era. This song is one of the best examples of how this band plays with tension and release style jamming. The jam within is a dark minor key, often drum and bass style onslaught that peaks into a triumphant major key led by virtuoso guitarist Jon Gutwilig. He ultimately controls the peak and release of this element of the jam and I've heard versions where he dips back, tantalizes and nearly tortures the audience holding back that key change. It can create some furious, at times dissonant soul rattling improvisation. This version is much more concise and reigned in at a paltry 10 minutes yet still manages to convey what the song is capable of.


 Helicopters could be considered the definitive piece of music for the Disco Biscuits. It best exemplifies their sound and its mix of dark electronic music with classic jam improv. For me, begining my biscuits journey in 2000/01, versions from this time period very much remind me of my falling in love with this band. All songs were standalones from this show so they just launch right into helicopters. The jam out of the compositions is way darker, more aggressive and raging then I could've thought possible from the tight festival set format. They really rip it apart while keeping it to a tight 9 minute version.


Jigsaw Earth comes next and is the heaviest hitter of the night at 16 minutes. They start off with a Tunnel tease from Gutwilig during the opening instrumental. I love the format of Jigsaw with several jam segments that often expand out and accelerate way out of the original shuffling groove of the song  until it has to be reigned back in for the next verse. This track often goes very drum and bassy like Shelby, especially in this time period. Each jam takes the improv out a bit farther in this version and they manage to showcase their talents for the crowds filtering in for the dead guys. Before playing their last song bassist Marc Brownstein talks about seeing his first concert ever at SPAC (Men at Work haha) and thanking Phil and the rest for bringing them out on this tour as it was their last night.


They launch into the appropriate Home Again for their final track and gave me an incredible dose of nostalgia for my sophomore year of college. I did manage to turn my bad streak in school around that summer, doing well in a history and archaeology class. I especially enjoyed the archaeology class (after failing it that past spring haha) as my teacher was a grad student who was digging Maya sites in Mexico and got me really interested in Mesoamerican archaeology. Through 2001-2002 I took more archaeology classes and really enjoyed them. I had some direction! I also got more and more passionate about seeing jamband shows fueled by the fast internet speeds on our campus and the explosion of file sharing. All of a sudden we had access to tons of live music, including shows we'd just seen! Hearing this Home Again while walking into work brought me back to walking to class from Colonial Quad with my headphones on and spinning whatever  biscuits CD I had just burned. It was a truly inspiring and formative time for me. Here 15 years later I'm an archaeologist by trade whose passion for live music has only deepened.

Ratdog
Chris LaPorte's Nak300 Audience Recording 




 Blackbird, Me & My Uncle, Friend of the Devil, Bury me Standing >Good Morning Little Schoolgirl,  Playin in the Band > Uncle John's Band > October Queen > The Deep end >
Even So >He's gone > The Other One >Other One Jam >Sampson and Delilah, Terrapin>Uncle John's Band 


The jam into Blackbird is quite lovely to start out. Once again we have a wonderful, vibrant audience recording. I recently learned that some of the best audience recordings are from outdoor venues since there's no walls for the sound to bounce off of which was contrary to what I believed. So neat to keep learning. An excellent Me and My Uncle leads into Friend of the Devil which is where I entered the show all those years ago. This was a really cool moment for me. I grew up listening to American Beauty the most of all my dead stuff and those songs I tend to cherish especially so seeing one of these tunes as my first ever live dead experience was pretty special. Kenny Brooks on Sax and Jeff Chimenti on keys enter into the mix on FOTD. I didn't take note at the time of just how jazzy Ratdog is but listening now I really enjoy it and how different the sound is than many post-dead projects. I'm an unrepentant Dead and Company fan so its also cool to know I saw Jeff way back when. I absolutely adore his playing.


The Ratdog original Bury Me Standing comes next and I can definitely dig this tune. It's cool that Bobby was still interested in writing new music and wasn't just playing dead tunes. They segue into an uptempo and swinging Good Morning Little School that is a radical departure from the Pigpen led version I'm used to. The Bob Weir classic Playing in the Band comes up next and starts an extended block of segued tunes that sees the band stretching out and showing off their chops. Rob Wasserman is still playing double bass with a bow which gives this song a very unique feel compared to what I'm used to. They spiral fully into intense psychedelia before giving way into Uncle John's Band. Kenny Brook's leads on sax during the opening of UJB is quite lovely and manages to suite the song very well. During the between verse jamming, The Chimenti/ Brooks interplay shines again. On the segue out, Mark Karan contributes some tasty lead guitar as well which is a nice change as Brooks has been primarily holding down the lead lines.


October Queen with its musical homage and lyrical content really hitting that jazzy swing of New Orleans erupts from Uncle John's. Including in this segment is The Deep End instrumental which I'm not familiar enough with Ratdog material to really differentiate from the rest of the tune. The smoky Wasserman/ Weir track Even So segues very nicely out of October Queen. I'm very familiar with this tune after Dead and Company played it summer of 2016 as a tribute to Rab Wasserman shortly after his passing (check out the jambase article here). I get a definite feel for the Ratdog sound of this era during this jam segment. The jam takes a dark and spooky turn that segues very nicely into He's Gone. This band can definitely play really nice. The crowd was naturally very excited to hear to dead classic and they hit it at just the right funky pace for a summer sunny day.


The pace starts picking up out of the end of He's Gone and it becomes clear even without the Phil Bomb that we are heading into The Other One. Jay Lane plays expertly off of Brooks with Bobby organizing the charge. They only do the first verse before segueing into an 'Other One Jam' with Jeff getting weird on some synth effects followed by some sick Wasserman basslines. So interesting to hear classical bass wailing dead tunes! Out of the rumbling of Jay Lane's drums came the familiar pattern of Samson and Delilah. Such a natural segue I'm surprised it never occurred to the dead! Brooks switches up to alto sax which lends a much more rock and roll feel to the jam than the more jazz oriented baritone he uses for the majority of the show (note: I may have my sax names confused). I really enjoy his playing in this band. It reminds me a lot of what Leroi Moore added to the Dave Matthews Band.


The band next slowly noodles in to a reflective a lovely Terrapin Station. While other dead renditions from Ratdog are very different than what I'm used to hear with Dead and Company, this Terrapin could easily be confused with a Dead and Co version. The tempo rapidly accelerates as the band segues back into Uncle John's Band, a lovely way to close out a fun, well-played and diverse set.

Phil Lesh and Friends 
 Ben Ehrsam's Audience Source




SET 1
Jam >Shakedown Street ( with Wheel-ish Jam ), Music Never Stopped >Good Lovin, Low Spark Of High Heeled Boys >Tennessee Jed, Tons Of Steel
SET 2
Jam>Viola Lee Blues ( with Mt. Jam tease), Duprees Diamond Blues, Night Of 1000 Stars > Spacey Jam >Lucy In The Sky > Jam >Masons Children, The Wheel >The Other One >The Wheel >Sugaree, crowd / donor rap / band intro's
ENC:
Casey Jones 

It's pretty fascinating to have 3 different beautiful sources for the three different performances on this day. All of them are terrific and have slightly different flavors. I have slightly more vivid memories of moments from Phil compared to Ratdog but mores-so what songs they played as opposed to memories of the music. A nice patient jam in leads to rowdy Shakedown. Who doesn't love a shakedown opener? They get pretty deep into it including a wheel jam. Next up Bobby steps out and joins the friends for blistering Music Never stopped>Good Lovin'. I keep noticing just how much faster these tunes are played compared to Dead and Company. I shouldn't be so shocked considering this was 15 years earlier. Everyone is much older now. The jam in Good Lovin' gets especially fiery for Bobby's vocal improv at the end Warren is really shredding some lead lines as counterpoint. 


I'm unfamiliar with the traffic tune they play next but it has a nice slinky feel and some solid vocals from Warren. As the band departs into the jam Jimmy Herring and Warren Haynes expertly trade lead lines. Phil is really starting to stretch out here too with some very active lines. Baracco steps in with some choice key playing as well towards the end. The Here Comes Sunshine tease next has its intended effect of teasing me and leaving me wanting to hear that tune. I guess I'm not going to complain about a Tennessee Jed though.Rob Boracco sounds great on vocals not trying to impersonate Jerry but doing Jerry's version justice. They do some taffy pulling with the tempo of the jam which is pretty fun to listen to. There's no doubt this is a tight, professional band. To wrap up the first set, I love Brent. You can Tons of Steel me any day Warren. 


The second set gets started with a Jam> like the first set with nary a hint as to where its headed from the jump. Viola Lee opens with all the promise this beast can bring. Lesh is really strutting on the bass line and it is funky as all get out. Both guitarists get weird quick then commence to shreddin. It would be very challenging to track all of the meanderings in this 27 minute opus but suffice is to say they go many places, see many things and perhaps stop at a hot dog cart because Warren got hungry. There was a Mountain Jam tease. Dupree's is a tune that likely was not on my radar in 2001 but one that I enjoy very much these days. It's a well-played if all too brief version. In researching the next track Night of a Thousand Stars, I was excited to find out its a post-Jerry Robert Hunter piece! I adore Hunter's lyrics so its neat to have some I didn't know. The jam goes pretty far out, sheds the structure completely before easing into Lucy in the Sky With Diamonds. This was a really fun moment for the audience. Definitely one of the energy highlights. On the re-listen even though I'm not really the biggest Beatles fan, I gotta say they nailed it. Next comes Mason's Children making for a one two punch of 60's flower power culture.


Mason's transitions in the loveliest of ways into The Wheel. One of the prettiest moments of the set. It's a brief visit, the wheel doesn't really intend to slow down and we hurtle on into The Other One. No question this time; Phil drops dem bombs. It's a whirlwind visit though. They song coming around a few times before scurrying back into the Wheel. They don't stay there too long either, its Sugaree time! Always a favorite of mine, I respect any version over 10 minutes. This version comes in around 11 minutes. Enough said. 


 After Phil's donor rap and band intros the friends rip through a nice Casey Jones encore before calling it a night. Looking back from the perspective of a 15-16 years spent since this night as a live music fan, I'm truly impressed with this night's line up and the stellar music played. Fans were treated to an up and coming jam band with a novel style showing folks what they could do, a unique take on the dead's music led by Bobby with a team of the bay area's best and Phil playing with some of the absolute top players in the game. Click here for the full gallery of images shot by Jonathan Rabhan I used for this post. 
 

Friday, December 30, 2016

Silde Mountain 12/21/16

After our hike of Giant in some challenging weather conditions, I was glad when the forecast for Michael and I's Slide Mountain hike turned out to be pretty perfect. The plan was to meet at the Stewart's in Saugerties since he comes up from Jersey and roll to the trail head from there. I'm listening through the Grateful Dead's performances at the Capitol Theater again so listened to 11/8/70 on the drive. The acoustic set was the perfect way to start my morning. The slowed down "I Know You Rider" and one of the few live performances of the Pigpen classic "Operator" are but two highlights of a set that's really the culmination of a year of stellar acoustic performances.

Michael hopped in with Koda and I and we got on the road. It was cool to travel a part of the state I've never spent any time in before (I hiked Slide many years ago but have few memories). On the winding roads Koda whined quite a bit at first but did eventually settle down. We listened to the start of the electric set with a well-placed Morning Dew inspiring us for our day ahead. A large meet up group was just gearing up to get going as we hit the trail head. They had a little dog with them who Koda was quite excited to meet. As we geared up, I watched as the group did a rather dicey water crossing of the Neversink along a snow-covered downed tree. I was not looking forward to it. Well it turned out to be OK but that's quite a way to start a hike. I imagine this firms up quite a bit later in the season but there was lots of thin ice and open water. I'm glad no one took a dip.

The weather was just as good as it can be in the winter and the trail was nice and mellow, especially in comparison to our last climb up the very steep Giant Mountain ridge trail. There was around 8-12 inches of snow overall but lots of the hike had way less then that. Everyone before us had worn spikes and that appeared to be the correct tool for this trail. Of course I forgot mine like a noob after really making sure Michael had his. I survived. The trail is a nice inclined plane that moves you up steadily in elevation. We soon had lovely filtered views of the Neversink and Esopus Valleys and the feeling of getting high on the mountain.



I think one of my favorite parts of the hike was witnessing Michael noticing all of the interesting ice and snow formations and just how much winter alters the landscape. It gave me fond memories of discovering this unique beauty for myself and how much it inspired me to keep exploring in the winter months. We made the abrupt transition into evergreen forest and began to work our way along the ridgeline as the sun rose above the nearby mountains and began to illuminate the forest around is. It was truly beautiful and got me super excited to see some views. There are several stunning views north along the final push and we paused to soak them in.




By the end of my winter round of the Adirondack 46, I felt like I had the peaks pretty much memorized from most any standard perspective. I can honestly say that I'm a third of the way through the Catskill peaks and I still really don't know much at all. It's exciting and humbling to have a new world to get acquainted with. The final stroll along the top flew by after the initial views and we found ourselves on the big ledge with big smiles and some pep still in our step. I gave Koda a pigs ear and us dudes split a pb and j. Michael had noticed on the way up that Koda's paw was bleeding. For the first time in our 4 years hiking together, Koda had sustained an injury: he had broken a nail on his front left paw. At the summit I cleaned it up and put styptic gel on it. He wasn't favoring or worrying it so while it was disconcerting to see him bleeding, I tried not to worry too much. He happily munched a pig's ear and Michael shared some pb and j with him while we took in the summit view. From descriptions, I honestly expected it to be more grown in so the commanding view over the tops of pine tress was a pleasant surprise. We loitered in the bright warm winter sun for another pig's ear before beginning our decent.







In planning the hike I thought it might be nice to tack on the Curtis-Ormsbee loop to make the hike a bit more interesting. It actually worked out really well since it wasn't broken out and Michael was looking to get a little snowshoe experience. We broke out thickly crusted (it had rained quite a bit the previous weekend) snow along the subsidiary ridge, occasionally finding windswept sections devoid of snow. It felt almost like a different mountain then the one we had hiked up. I enjoyed being in snowshoes for the first time of the season and Michael got the hang of them fairly quickly after initial trepidation.


The loop adds an additional mile (which I had conveniently underestimated) and with the extra work of snowshoeing, began to wear us out a bit. When we hit the Phoenicia/ East Branch trail large portions of the old tote road were open, icy and running with water. Michael switch back into spikes I mumbled expletives about forgetting the critical gear piece. It was still a hella pretty place to be and a gorgeous day so my spirits weren't really crushed or anything. The time passed, miles were hiked and the crossing went much easier with the pressure removed. It was a pretty awesome hike and Michael mentioned wanting to hike all of the Catskill winter high peaks needed for the Catskill 3500 which is awesome for me as I want to do them all as well so we made loose plans to hike another one before the end of winter. Since the trail was so wet and snowy, Koda's nail hadn't really stopped bleeding on the way down. Michael helped me hold and calm him while I applied the styptic gel again. This time it worked with him passed out peacefully in the back of my CR-V and has since healed completely.

It was another great day in the woods, enjoying the unique experience of hiking mountains in the winter, in the company of a great old friend, and a mountain loving German Shepherd.  I felt lucky and grateful for the experience.

Friday, December 16, 2016

The woods


Not mountains or views.
Not trails.
Not creeks or lakes or fens.
Not animals. Not People.
Not cool rocks or weird bugs.
Not pretty flowers or that one interesting tree.
Not bridges or trail blazes.
The woods.


Tuesday, December 13, 2016

The Grateful Dead Marin Veterans Memorial Auditorium 3/28/-4/1/84

I first got interested in spring 1984 after reading reviews for the Niagara Falls show and the use of delay effects on the vocals, most notably during the Black Peter. Many of the reviews for the archive recording are actually worth the read (this is not always the case haha) and give a nice sampling of tour stories. Check out the Niagara Falls recording here. It actually took me at least a year from reading those reviews to actually listening to the show as I was very focused on soundboard recordings at the time. I had the audience recording breakthrough, as I imagine many Dead fans have, listening to the stunning Ken and Judy Lee Capitol theater recordings from 1970. As these things go, one good show begets another listen so I checked out the Rochester show. I then found a neat snippet of fan shot footage of the lot scene for those two nights (check it out here). All of a sudden I was hooked on Fall 1984 and decided to try and listen to all of it. Most of the audience recordings from this time are pretty delightful to listen to which is awesome considering how few soundboards circulate from 1984. Since my listening path for spring 1984 started organically I listened to a good chunk of April before backtracking to the start of tour, the Rex Foundation Benefit shows at the Marin Veterans Memorial Auditorium.


I always like to include album artwork with my shows so I have a visual to associate with each recording. Sometimes I use the stub, a backstage pass or a poster from the show. Pulling images from this run led me to the excellent write up of the venue from Jerry's Brokedown Palaces blog (here). It turns out the venue was one Frank Loyd Wright's last designs. I always love to imagine how the setting affected the show and I can only imagine how music performed in such a thoughtfully planned out, unique and beautiful venue would've been enhanced for the fans and the band. With a capacity of 2,000 this must've been an intimate run indeed.

3/28/84
 Set 1
Iko Iko, CC Rider, Loser, El Paso, West L.A. Fadeaway, Beat It On Down The Line, Candyman, Let It Grow

Set 2
Ain't No Lie, Hell In A Bucket, China Cat Sunflower>I Know You Rider, Playin' In The Band>Don't Need Love>Drums>Space>The Wheel>Truckin'>Spoonful>Around and Around>Johnny B. Goode  E: Touch Of Grey
listen here

The show and tour start out with a bang with the band swinging into a high energy Iko Iko. They're still shaking off the dust a bit but its clear from the jump that the band is in fine spirits and excited to play. It must've been a comfortable setting, right in their backyards. Lots of family and friends in the audience. The recording is gorgeous, with each members contributions audible but not overpowering. The vocal interplay between Jerry and Brent is a delight to listen to. Normally I'd be a little irritated to have to get right into a C.C. Rider this early in the show but the extended intro jam is well played and gives further indication that the night is going to be pretty special. Excellent Brent Hammond playing throughout. A strong C.C. Rider is followed up with an excellent Loser. My standards for this song are very high as its my favorite Grateful Dead song and this one certainly delivers. The impact of the band returning into the chorus after Jerry's main solo is especially impressive as are the licks he effortlessly throws over said chorus.

A well played El Paso leads the way to another prolonged buildup to the West L.A. Fade Away. This to me is a quintessential 80's Dead tune and they nail this one with feeling. Beat it on Down the Line appears towards the end of set one a lot during Spring 1984 and this is one of many solid versions. At this point the Dead have played music in at least five different styles/ genres without jarring the audience. True masters of style. I love 83-84 era Candyman along with its siblings Sugaree and Friend of the Devil. Nice chugging, groovy (choogly a la thoughts on the dead) tune with lots of tasteful Brent playing. I really love his sound palate for 1984. It really makes the sound in my opinion. It's dark and brooding and spacey. An uptempo Let it Grow Signals the end of set one.


Set two gets a pretty unique start with the only electric performance of Oh Babe, It Ain't No Lie. It's well played and though mellower than you'd expect to start set two, definitely works. Bobby gets things warmed up in much more typical fashion with another 80's staple, Hell in a Bucket next. The energy stays high for a very well played China>Rider. They really nail pretty much everything they touch on 3/28. Playing in the Band is one of the bands first deeper excursions for the night. An interesting effect from this time period is a deep 'gonging' sound Brent uses. Check out a shakedown from 84 for a good example of this. He uses this effect quite well in this spacey but directed Playing jam. The band segues nicely into the first performance of the Brent tune I Don't Need Love. They will only play I don't Need Love 16 times between 1984-86. It's a pretty little tune very much in the cannon of Brent themes (heartbreak and loss, relationship troubles) that perhaps suffered due to its  consistent set 2 placement. I think this song may have found legs as a set 1 tune, in the Friend of the Devil/ Sugaree spot. It segues nicely into the nights drums>space segment.

1984 drums>space tend to have a pretty mellow drums segment, often utilizing world percussion as opposed to attacking the kits hard. The drummers hang back for a minute while Jerry gets established for space. The space is sparse at first with effects drenched interplay between Jerry and Bobby. they pick up steam and intensify before drifting back into some gorgeous melodic interplay signaling the approach of the Wheel. I adore wheels from 83-84. Once again, Brent's sound palate in this era really sets the tone for beautifully plaintive, melodic yet somehow ominous performances of this beast. They don't settle in for long, launching into a spirited Truckin'>Spoonful>Around and Around>Johnny B. Goode to close out the second set. Very tight segue from Truckin' to Spoonful, which isn't usually my jam. It just proves how spot on they are tonight if Spoonful has me bopping along. A better than average Touch of Grey encore puts this great night in the books. I adore this show so much. To me it stands with the best of spring 84.

3/29/84 
 Set 1
Walkin' The Dog> Bertha> Promised Land, It Must Have Been The Roses, Little Red Rooster, Bird Song, My Brother Esau, Might As Well

Set 2
Shakedown Street, Estimated Prophet>Eyes Of The World>Drums>Space>Spanish Jam>The Other One>Wharf Rat>Sugar Magnolia
E: Day Job
Listen here

The second night starts with one of the seven Grateful dead performances  of Rufus Thomas's early 60's hit Walkin the Dog. It leads off a medley that cruises through solid versions of Promised Land and Bertha. Once again the recording is phenomenal, taped by "Da Weez" using two Beyer M160 microphones and a Sennheiser 421. I've seldom met an It Must have Been the Roses I didn't like and this streak continues with 3/29's version. Lovely singing and soloing from Jerry all bright and close enough to touch on this Aud recording. Brent's keys and harmonies serve as a perfect counterpoint to Jerry's quavering but strong delivery. Next up, Bobby takes center stage for Little Red Rooster with appropriate swagger. When he sings the 'hounds begin to howl' line, the audience howls. Both times through. Pretty cool moment I wouldn't have caught if this was a soundboard recording. Much to my delight Brent takes his verse in this one. I'm not sure when exactly he starts doing this but the part definitely stays in for his remaining years with the band. Note to self: Future research topic. Bobby takes his slide solo of course. I have nothing else to add to this.

As a slide guitar palate cleanser, Jerry steps up next for a spacey Birdsong. This song ends up in the first set a good amount in 1984 and is a welcome addition. It was shelved from 1973-1980 (I can't fathom why) then stays in rotation till the end. Its a nice safe place to stretch out some jams in the first set. Jerry and Phil chase each other around quite nicely through some lovely runs with lovely rhythm work from Bobby supporting their excursions. The rhythm devils aren't sleeping on the job for this Birdsong either, driving the jam to its peak starting at the 7:00 mark. Another popular mid eighties first setter My Brother Esau slinks up next. I love the groove to this song and the 'shadowboxing the apocalypse, watering the land' line. Really fun tune I wish had stayed around a bit longer. Jerry takes a really nice run after the first chorus. Might as Well grooves the first set to its conclusion.


As Jerry and the boys take their first experimental strums of Shakedown Street the audience erupts. You'd be excited too. The intro instrumental part is an opportunity to check out the 'space gong' Brent effect I keep muttering about. This Shakedown is a nice mid-tempo example with some jamming but they don't get too crazy. Estimated Prophet is next and is also played at would could be described as mellow pace. There is some nice jamming out of the 'glory' section around 5 minutes in. The Estimated jam builds nicely into a fairly uptempo Eyes of the World. Typically the faster Eyes don't do it for me but this one is pretty solid and flows nicely into a delay-drenched marimba drums segment. Billy and Mickey eventually wander throughout their playland, getting into some tom rhythms before going after everything in sight to peak the drums jam intensely. Space starts with some ominous woodwind-like guitar sounds from Saint Jerome with some delay keyboard interjections from Brent and feedback from Bobby.

Long before they had into Spanish jam, Jerry is already teasing The Other One. I feel like he just couldn't resist teasing that riff in space> jams. I always hear it very early on in the jam. In this case before another entire jam hahaha. This is one of three Spanish jams in 1984. While it was dropped from the catalog between 1976 and 1981, It does take the ride with them for most of their career, though a rarity after its resurrection, usually only played 2-3 times a year. I suspect that maybe Bobby started this one, hence the Jerry Other One licks a song early. He got vetoed! All speculation of course. The Spanish Jam theme develops its leviathan like pace, unwinding tendrils of psychedelia until Phil rumbles in with his trademark Other One bass run. It's a strong entry with nary a Jerry tease to be heard (he already done teased it a song ago!) and plenty of slick interplay before Bobby comes in with the Spanish lady verse. Brent is particularly strong throughout this section. Out of TOO comes crepuscular-favorite Wharf Rat, and what a lovely Wharf Rat it is! The sustained organ/ Jerry/ Brent harmony during 'I know that the life I'm living's no good' section gave me chills upon relisten. Nothing says set 2B like Sugar Mags so here it comes with the band locked in and groovin. I really dig Day Job, especially as an encore and double especially as it allegedly ruffled the feathers of the fanbase a bit. The Dead apparently really dug it in 1984 as well, playing it 19 times, usually to close out set 1 or in the encore spot. Night two of the run doesn't quite have to clout of night one but is no slouch either with some very solid, if somewhat mellow, playing across the board. 

3/31/84
 Set 1
Alabama Getaway-> Feel Like A Stranger, Dupree's Diamond Blues, Minglewood Blues, Dire Wolf, Hell In A Bucket-> Althea-> Looks Like Rain-> Deal

Set 2
Scarlet Begonias-> Fire On The Mountain-> Women Are Smarter, He's Gone-> Drums-> Blues For Allah Jam-> Throwing Stones-> Not Fade Away,
 E: It's All Over Now Baby Blue
Listen here 

Night three of the run starts with the standard early 80's opener Alabama Getaway. This tune gets played the most in 1980 with 51 versions. By 1984 its in steep decline with only 8 plays. This is a fun version with Jerry singing great (especially for 1984) and some nice Hammond lines from Brent. Phil is really grooving and pushing the energy nicely. It's great to hear him so clearly in this Aud (this time Rango Keshavan using a Sony ECM-220T mic) recording. I find he's often lost in 80's soundboards. I'm always excited for an early first set Feel Like a Stranger. Much like Bird Song as I discussed in the 3/29 review, Stranger is great place in the first set to get some solid improv time in. First though, I rate any Stranger first and foremost by Brent's delivery of the "It's gonna be a long, long, crazy, crazy night" line. Fairly standard delivery. Strong but not raging. It leads nicely into some fun Jerry/ Bobby interplay with Phil grooving hard again. Gotta love Dupree's from this era. Brent uses a very calliope/ carnival voice for his keys part. The New Haven 4/23/84 version of Dupree's has an even more pronounced Brent Circus feel. Minglewood drops with huge thundering bass from Phil. He's really destroying this first set. Next comes a big surprise for me from my favorite dead member: Brent does a scat solo during Minglewood! So fun and rockin' I definitely need to do more research to see what the time span is for this phenomenon.

Dire Wolf comes trotting in next and is a fun, melodic and upbeat rendition. I want to mention again that Phil sounds great but won't say it again in this review. I'll only point out if this changes. Jerry is just the right amount of ragged on the strong vocal lines ("but the cards were all the same"). The intro to Hell in a Bucket is nice and tight. It's an easy song to dismiss but when they're ripping like on 3/31 it'll probably be pretty hot. This one definitely is. Micky and Billy sound especially tight and are all over their kits. The setlist notes a segue into Althea. I assure you there is not a segue. Althea has a nice slow groove. This whole run is uncharacteristically slow for the time period in a very good way. They're taking their time and come off as relaxed. Althea is always a treat to me. While Robert Hunter wrote his songs in a voice meant to be taken as a narrator, I feel like he wrote Althea for Jerry specifically, to be told from his perspective. The conversation within has a very intimate feel. On to another intimate tune, Looks Like Rain. Another conversation between a man and woman, this time written by John Perry Barlow and sung by Bob Weir. It starts off sweetly and quietly and works up to a really nice peak. I love the Bobby and Donna duet era of this tune but this is a really nice post Donna version. Once again a segue is noted but they totally wrap up LLR before starting up the deal. This Deal rocks! Certainly not life changing or anything but I wouldn't kick it out of bed for ending my first set.


All the deadheads rejoice for Scarlet>Fire leads off set two! The band launches right into it with minimal opening noodling. Jerry sounds strong and confident vocally. His guitar work throughout the transition is very nice as well. The jam is constantly moving and he's definitely steering the ship. Some very interesting rhythmic grooves happen as the build into Fire on the Mountain really gets going. This is group improv at its finest. Everyone is contributing without stepping over each others lines. Ensemble jamming. Things quiet down a bit though before the segue with some really melodic Jerry. Then they build things back up  before quieting down all over again. Phil then Jerry each through out a Fire riff in with the rest of the band biting but no one rushing. Lots of subtle support from Brent. The final minute of Scarlet...just listen. So lovely. Then Jerry plays the line we've all been waiting for with the rhythm devils picking up the charge and the rest of the gang not far behind. Not too fast and not too slow, the perfect Fire groove once again showcases some wonderful ensemble jamming. This is the scarlet>Fire people go to XXX shows to catch. Just so on point. Fire on the Mountain I'm sure was non-stop high fives and hugs in the crowd. As with the Scarlet, the verses and chorus are strong and largely flub free. Every Jerry solo between is interesting and directed. Jerry 100% slays the dragon on the final solo/peak about 11 minutes in with some great Bobby support.

Without any time to smoke a butt, they launch into Man Smart (Women Smarter). Its delivered at a nice loping pace and is a fine cool down from the raging Scarlet>Fire without losing momentum. He's Gone starts off dreamy, reminiscent of how Wheels come out of Space in this time period. Nice Jerry work on the solo, lazy loping guitar with Brent doing some space gongs to compliment. Jerry continues to be the right amount of raged, sounding especially sincere on this tune. The vocal interplay with Brent and Bobby on the "Nothing's gonna bring him back" section is wonderfully intimate on this recording using some delay effect to get weird towards its end. Drums starts out with some heavy tom rhythms before wandering into some delayed marimba noodling which sounds at times like water droplets plunking. As is normal, things get weirder and peak before drums trickles down into space. Jerry has the Close Encounters effect on with Brent making wind chime sounds behind him. Bobby soon joins in with some heavily processed effect and chases Jerry's lines around. Once again, things get weird and peak. And then get ever so much weirder. Really really deep space section. The Opening chords of Throwing Stones are expertly placed and come out of a truly beautiful and sparkling passage. Throwing Stones is a tune that really grew on me through time. I dismissed it as a standard 80's Bobby tune at first, but I love all the different sections and how they progress. The political lyrical content is still totally relevant even if every line doesn't necessarily age well. So many great individual and evocative lyrics. They stretch out the instrumental segment after the "we are on our own" passage nicely. You can tell all night the band just wanted to play. It's such a nice feeling to shine through the recording (Phil sounds great, I don't care what I said earlier). The very natural segue into Not Fade Away is not entirely a surprise but still always nice to hear. This is a pretty spicy version with a solid jam. You'd think things were wrapped up when they launch into the clap and chant segment but lo and behold, Micky and Billy decide to come back in and jam with the clappers! A magical live music moment to be sure. Baby Blue is a peaceful, serene way to wrap up a show and they launch into it without really pausing at the end of NFA.

This show really grew on me after the second listen. Lots of gold here for the deadhead willing to pan a bit.

4/1/84
  Set 1
Jack Straw, Friend Of The Devil, Me And My Uncle>Mexicali Blues, Big Railroad Blues, Cassidy, Tennessee Jed, My Brother Esau>Don't Ease Me In

Set 2
Help On The Way>Slipknot!>Franklin's Tower>Samson And Delilah, Terrapin Station>Drums> Space>Morning Dew, I Need A Miracle>Goin' Down The Road Feeling Bad>Good Lovin'

E: Touch Of Grey
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I love Jack Straw. So very much. Much of the symbolism and flavor of the Dead universe is on display here along with some terrific composition. There is tons of room for Jerry to get nasty and he does so all over this opener. The band and crowd seem ready to go and there's a terrific energy surge from the "you keep us on the run" line. My first introduction to this time in the Dead's career was listening to Lake Placid 1983. It was my first time hearing the 80's 'reggae' Friend of the Devil. I was fascinated and wanted to delve deeper. Here in the second song is a fine example of this interpretation of Friend of the Devil with great sparkling Brent play to keep the subtle groove moving. Next up the boys rip through a Me and My Uncle>Mexicali Blues. They are a well executed energy shift from the mellow shuffle of the FOTD. Jerry is on point and deftly lays bright and vibrant lines throughout Me and My Uncle. The drummers polka beat us right into Mexicali. The band doesn't really bother to catch their breath before launching into Big Railroad Blues. They seem quite fired up to wrap up a stellar 4 night run. This tune was played a good amount in the Pigpen era but got retired during Keith's tenure with the band. It was resurrected when Brent joined the line up. His Hammond and vocal harmonies are perfect for Big Railroad. More great Jerry playing throughout this one. He is red hot in the first set.

Cassidy is up next and always welcome in my book. I think it may be my favorite piece of Barlow writing. So poetic and evocative without being overly cheesily psychedelic. The instrumental interludes in between verses are quite lovely and they execute them perfectly on this night. Its a concise performance at just over 5 minutes though Jerry still manages to rip the peak apart. Tennessee Jed is the first real break in tempo in 4 songs. It's nice to catch your breath and chug through a classic dead groove. It's pretty standard though Jerry managed to rip this peak up as well. Sense a theme for the April Fools show? Jerry Jerry Jerry.  Up next is one of the two repeats of the run, My Brother Essau. I'm not complaining though, I'm a big fan. More lovely poetry from John Perry Barlow. Lots of room to take what you want from this tune and related to your life or experiences. The whole band is locked in nicely and I would describe the tempo as rollicking. Brent shines in a subtle way and Bobby delivers the vocals with conviction. Don't Ease Me In signals the end of set 1 with able playing on this Henry Thomas tune from the whole gang.


So yeah, folks get excited to hear the initial noodlings of Scarlet Begonias to start set 2 right? How about hearing the opening strains of Help on the Way? Electricity. Phil and Brent interweave quite nicely to get us off the ground while Micky and Billy play a driving beat that would've had me dancing. Help>Slip!>Frank to me is a defining segment to this band. Full of mystery and possibility yet was not a given. By a long shot. After its debut and some amazing performances from 75-77 it was shelved until 1983. It was played only 9 times in 1984 and was shelved again from 87-89. They rip through help and the Slipknot! section gets pretty far out there pretty quick with Jerry leading the way out into Space. The Rhythm Devils keep a steady driving beat throughout though. It's a full band commitment to swirling, with a moment of eye-of-the-hurricane-stillness, before the peak the eff out of the Slipknot! and locking back into the composition. God is Franklin's Tower triumphant! While the entire suite is uptempo its not so fast that the subtlety of interplay gets lost. While Jerry destroys set 1, he's not exactly napping during set 2. the second solo section around 4 minutes in has some especially brilliant guitar work from our hero. Tight funky and fun, while this is hardly a best ever Franklin's, it is pretty great. It seems at the end like Micky and Billy don't want to let go of the groove as the rest of the band is dwindling down. As the final notes are floating out of Jerry and the strings, the rhythm devils start pounding out a brutal tom pattern known and loved. Wait...is tonight Sunday? It is! This my friends is a Franklin's>Sampson segue. Nasty nasty stuff. Ole Bobby steps up a delivers the first verse like the rock star he often is. Brent's Hammond playing drips with sustain and was probably vibrating the pretty little theater. After the chorus, Jerry doesn't want you to forget who's on all the tee shirts and shreds his 500th amazing solo of the night.

As is another theme for this entire run, the band takes no pause to smoke a butt at all before the opening gem-like notes of Terrapin are sending chills down my spine. Wow. What an incredible setlist. It's unbelievable to me they don't need a minute after that beefy segment. This is a band ripping it up like it's 1968. Ethereal, shimmering, all that is Terrapin. Vocals nailed, interludes noodled to the utmost. Just so much bliss. It's so lovely to hear this moment frozen in time. Please take notice of the perfection at the 6 minute mark as the play back into the composition before the "since the end was never told verse". At times during the Terrapin section, the heavy reverb overwhelms the audience mic a bit but I bet in the room it must've sounded pretty amazing. After this behemoth lurches to its monumental conclusion drums starts with some fiery standard drum kit soloing. Next meander takes us into some spacey marimba plunking from Micky with Billy playing the big drums. Things get weird, things get hectic, then things get spacey. The drummers don't exactly run off the stage but more so dwindle as Jerry comes out with the space invaders sound again. He is ripping through lines while Brent plays some swirling and appropriately spacey support. This is a very trace-inducing, dark and heavy Space segment. I suspect some heads were probably having to hold on to their seats for this one. Jerry picks a cleaner tone in the final three minutes and things get really interesting with lots of swirling sustained effects peaking and crashing behind his shimmering notes. As the chaos resolves, Jerry boldly plays the opening riff of Morning Dew. Yet another chill-inducing moment from this night. Dew isn't played much in the early to mid 80's but 1984 is the biggest year for it with 12 performances. This version is powerful, stately and confident. All that one looks for when selecting a Dew. When it quiets down around the 7 minute mark, this band is at its most beautiful. I want a break, the audience had to have needed a break, after that soul shaking Dew. Nope. They rip right into Miracle. It's well placed though and shifts the energy from the brain goo-inducing Terrapin>Drums>Space>Dew segment to end of the show rock out mode. Rock out mode continues with Goin' down the road. Brent plays some nice exposition. The vocal harmonies sound great and everyone takes some time to rock out a bit. Another notable Jerry solo. They slide very casually into Good Lovin' to wrap up a pretty incredible set 2. It's as well played and high energy as the rest of the night. They Encore with a standard but well played Touch of Grey. I lucked out in not being in the dead scene for the whole "touchhead" phenomenon so hold no ill will against this tune.


The first time through these shows, night one and night four stuck out as the best. After going through them again for this post night three really steps up quite a bit. To be sure though you can't go wrong checking out this run. There are clear and obvious highlights as well as subtle ones from each night. While there are boards for some of the nights, do yourself a favor and check out the top notch audience recordings I linked.