The “Prime” of the Grateful Dead

First let me say that it’s been a while since I’ve reviewed any music, let alone, The Dead, but I recently listened to a really hot show–one that intend to review soon.  This show really catches this band in their prime, but in order to define ‘prime’ it is important to note that The Dead had several primes, and this just happens to be one of them.

The “primes” of The Dead can most easily be marked by the personnel changes in the keyboard slot–also known as the hot-seat when it comes to The Dead because they either died as keyboardist with The Dead, or died shortly after their stint.  Here I’ll talk a little about the personnel, and in subsequent installments, I’ll give an example of a performance that typified their stay, or that particular “prime” with the band.

Some folks prefer the primal Dead marked in large part by Pig Pen, the iconic whiskey swilling, organ and harp playing, and liable to say anything on stage, larger than life personality who helped make the The Dead stand out as something more than just a psychedelic blues band.  His antics were unpredictable and the things that came out of his mouth would make the PC crowd shudder.

Other folks prefer The Dead most commonly associated with Keith and Donna Jean Godchaux who were brought in on the very tail end of Pig’s career prior to his death from complications due to cirrhosis of the liver–a bit too much swilling.  Keith’s jazz influences and his insistence on playing an acoustic piano almost exclusively led to a band that explored everything from jazz-rock fusion to disco.

Still, some folks prefer The Dead of the Brent Mydland years who came in to replace the Godchauxs–Keith had developed an addiction to alcohol and had a nasty habit of falling asleep at the keys, and Donna, well, she could make Bob Dylan sound like a songbird.  Soon after they were fired, Keith died in a car accident.  Brent played several different sets of keys:  piano, organ, synthesizer–and could also sing, so he was able to not only replace Keith and Donna from a personnel standpoint, but he went beyond, and though I would shy away from too many comparisons to Pig Pen, Brent brought back some personality behind the keys and brought an edge to the music that made it sound fresh again.

Finally, there are those people who prefer The Dead with Vince Welnick at the keys–Vince was brought in after Brent died of a drug overdose.  Why this would be your favorite, I have no idea.

Stay tuned to this space, and I’ll review the show I originally set out to review:  Live at the Civic Center Music Theater in Oklahoma City, OK on 11/15/1972.  For now, have a Happy Thanksgiving, and you’ll hear from me soon.

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October 1969: The Beatles’ Abbey Road Hits #1 on the UK Chart

41 Years ago this week, Abbey Road hit number 1 on the UK charts, and although released prior to the Let it Be album, it would be, technically, the Beatles last studio recordings released.  What is really amazing about the album is that, though the band wasn’t really functioning as a band at that point, they put many of their differences behind them, and in a number of ways, used to the album to make light of those differences. 

The album cover itself fueled speculation that there was truth to the “Paul is dead” rumor that gained some traction around the time the album was released.  Perhaps this is a topic for another post, but briefly, John Lennon’s white suit was said to symbolize a clergyman; Ringo Starr’s black suit, an undertaker; George Harrison’s blue jeans and denim shirt, a grave-digger; and the fact that Paul McCartney is walking out of step with the band and has no shoes all ‘proved’ the rumor to be true.  However you take the album cover, it is an iconic image in the world of pop and rock music.

In the UK, the album debuted at number 1 and spent 11 consecutive weeks there, and then was bumped for 1 week by The Rolling Stones’ Let it Bleed album before returning to number 1 for 6 more weeks.  In all it spent nearly 2 years in the UK top 75 and then reached number 30 when the album was released on CD in 1987.

The album is essentially divided into 2 sections–side A being a selection of singles, and side B being comprised of shorter incomplete compositions woven together into a longer musical suite.  Although most of the album was recorded in only about a month’s worth of time, it remains timeless in its appeal.

Various publications throughout the years have placed it on their ‘top’ lists in various slots, it is generally viewed as one of the top 20 albums of all time (I would put it in the top 10).  Like many albums or concerts I’ve recomended to folks over the years, this is one of those pieces of music that deserves your time, and deserves to be listened to in one sitting.  If you don’t own the album, get it–it’s one of those albums that is extremely approachable for those of you who might be less familiar with The Beatles–it is most definitely an album you’ll cherish.

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Grateful Dead Live at the Greek Theater 1982-05-22 – A Review

I’ve posted the link to the audio at the end of this review, but I would love for you to check out the review first, listen, and then let me know what you think. 

I’ve been listening to every ’82 show I can get my hands on, and thanks to the Internet Archive, and specifically, their “Dead Zone”, I can stream these shows, and I often have a selection of several versions of the same show to choose from.  Back to 1982…  ’82 is a really hot year that sort of gets forgotten between the big years of ’77 and ’85, but it is fantastic music that should be heard.  The band seems fresh, and they have a couple of things going for them that the 2 big years above weren’t able to afford them. 

In ’77 (and ’78 to a larger extent) the Godchauxs were weighing the band down.  Donna for one reason or another (there are lots of arguments in her defense as well as arguments against her) Donna became very shrill, and Keith’s grand piano had locked the band into a place that made it difficult for them to be dynamic and evolutionary.  Besides, Keith’s battle with alcohol had made him little more than a sleeping fixture on stage.

In mid ’79, Brent Mydland essentially filled the spot that both Godchauxs had occupied, and came in with not only a new sound vocally, but he supplied a new array of sounds on the keys that really allowed the band to explore the bounds that they had previously occupied.  Although 12/01/79 is one of my all-time favorites, it really did take a couple of years for Brent to really settle-in and find his space in the music and probably took as long for the band understand where he was in the music as well.  It is interesting to note that in the previous Spring tour, Jerry had switched sides on the stage with Phil on 04/02/82 in order to be next to Brent, a position he would remain in while on stage for the duration.

Back to the concert…  What a show!  I’m a sucker for Jack Straw shows, and maybe I’m a total geek, but I’ve even got a Great Northern t-shirt.  The band is listening to each other, and playing well together.  The Jack Straw pleases, the Sugaree is fantastic, Cassidy hits those outer limits but brings it all back home, but that Cumberland Blues simply blisters–it is definitely one of the good ones that I asked about in a previous post about best versions/performances of Dead songs.

I was a bit worried when I saw the Lazy Lightning, but from the first notes, you realize that this isn’t 1985 where they play it much faster than their ability to make it sound any good.  This one cooks and satisfies, and so does the Deal to end the first set.  I love a good Deal first set ender.

In typical fashion, a first set starting with Jack Straw is coupled with a second set starting with China>>>Rider, and this one has all the components you would want.  This is a good one to listen to in order to get a feel of the band.  There is so much energy brewing here, but it’s all about how well it is harnessed.  In fact, and I’m not the first to say this, but the recurring train theme in Dead music is the perfect metaphor for the band–so much power moving on its own and the question is, how to control it.  Sometimes you just have to hold on, sit back and enjoy the ride.

Women Are Smarter is fun, Never Trust a Woman showcasing Brent’s personality is gritty, and the Lost Sailor>>>Saint of Circumstance is right on the money.  They explore, and as you’ll find typical of this particular show, they all coalesce around that emotionally climactic rallying-point in the music.  Again, you may not always know where you are within the context of the music, but you have the confidence that the band will help pull you out of it and allow you to make some sense of where the music has taken you.

He’s Gone, a usual jumping-off point, helps propel this one into that second half of the second set otherworldly realm and dumps you off into a short drums and then into space.  I agree with folks who say that Not Fade Away should pull out of space rather than end the show, and that’s exactly what happens here.  Maneuvering out of the fog, they give form to chaos, and before you know it, you are listening to the old familiar cadence of Not Fade Away, and it feels good.  Brent’s organ swirls while Jerry’s guitar shreds and Bob finds those funny angles in the music; all the while Phil is dropping sonic bombs and Mickey and Billy are laying down a gauntlet.

Once they’ve squeezed that one for every drop, they send you off on an up-tempo Wharf Rat.  I cannot stress this enough, but the Dead understood the power of silence as well as the power of volume, and it is readily apparent in this one.  They are spot-on in this version instrumentally, and their harmonies are quite good–again, a fact that owes a great deal to bandmates listening to each other.  Another aspect of the band that this song tells about is the overall physical condition of the band.  In later years when Jerry ballooned-up, he would absolutely struggle through this song, typically placed late in the second set, and it would be dreadfully evident in his vocals.  This one is very nice.

The Around and Around is, well, it’s Around and Around, and although the Good Lovin’ starts a little shaky, it settles down and yields a really nice Bob rap and build-up to the end.  The U.S. Blues encore is a nice one to hear and is a great exclamation point to this show, and this is not just a mail-it-in encore either; these guys are still at work, and you can tell by the crowd bleed-in through the mics that the crowd loves it.  This encore is a real thankyou from the band to the crowd–the band loves it too.

All in all, this is a fantastic show.  Sure you will find problems with it, but this show comes from a time when they were playing really well and enjoying themselves.  I would definitely recommend checking this show out as well as challenge you to listen to that whole ’82 – ’83 period and weigh it against what might be your favorite period.  This is good stuff and it rocks.  Here is the link (enjoy, and again, let me know what you think, and while you’re at it, tell me what YOU are listening to):

http://www.archive.org/details/gd82-05-22.sbd.gorinsky.5215.sbeok.shnf

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Les Paul: A Life of Musical Innovation

photo courtesy blog.oregonlive.com

I haven’t said anything about Les Paul since his death a week ago, but I’ll just say that when I saw Les Paul guitar for the first time, I just had to have one.  In guitar parlance, you are, very very generally, either a Les Paul guy or a Stratocaster guy.  If you are familiar with the sound, you’ll know that the Les Paul has a deeper tone, or, as I like to call it, a bit of a growl to it, in comparison to the twangy brightness of the Strat.

We’ve got Les Paul to thank for two of the most important musical innovations of the 20th century:  the electric guitar, and multi-track recording.  We take it all for granted because we are just used to hearing music rather than recording it, but if you’ve ever done any recording, you know that multi-track recording not only changed the way it was recorded, but changed the way we all listen to music, and what we expect to hear when we are listening to it.

Rather than talk about his life – there’s plenty of information about Les Paul and his life story – I would rather you sit back and listen to him play and talk about his life and his music.  Accompanied by Marian McPartland who is a fantastic pianist – if you can ever catch her show, please do – Paul Nowinski on bass, and Lou Pallo on rhythm guitar, Les Paul gives you a big juicy slice of musical history that deserves a listen.

Please take a listen here, enjoy, and share your thoughts:

http://www.archive.org/serve/LesPaul1996-2002PianoJazzMarianMcPartlandNYC/LesPaul1996-2002PianoJazzMarianMcPartlandNYC.wma

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Grateful Dead Live at Madison Square Garden on 1987-09-19 – A Review

Courtesy Steve Zipser and Setlist.com

My business partner told me this morning that Mickey Hart had been a good friend of Walter Cronkite, and that Cronkite had been something of a closet Head.  The way they met, or as well as I could piece it together, is pretty interesting.  Apparently, Stephen Stills was to do the music for a sailing documentary that Cronkite was going to be narrating.  The long and the short of it was that Stills ended-up flaking-out and Mickey along  with Jerry Garcia, Carlos Santana and some others put together a soundtrack for the documentary, and that’s how the two met and eventually became friends.

The articles that I read placed that meeting some time in ’87 or shortly thereafter, so I’m not completely clear on the date, but Mickey invited Cronkite to a show at MSG and Cronkite reluctantly accepted.  His comment to Mickey was that he was looking for reasons to leave during the show, but couldn’t find one.  He was hooked.

In any event, I thought it might be appropriate to try and track down the show, but with little success.  Oh, I have access to the show, I just don’t know which it is…  Not having any luck finding the date I was looking for, and for the purposes of just simply listening to the music rather than getting lost in research, I chose this show from Saturday night in a 5 night run – hey, I’m a sucker for Maggie’s Farm (don’t worry, I’ve included a link for the show below, but read first).  I’ve long had the  show from the night before which features a smoking La Bamba, but I had overlooked this little gem.

The recording quality of this soundboard is particularly good, and as is the case with most MSG shows, the mood is electrifying, and the band is on and having some fun.  Also of note is the fact that this one was being broacast on television for the FarmAid Benefit, hence the particular importance of Maggie’s Farm appearance in this show.

From the very start the music is very tight and, though the lyrics get flubbed quite a bit, the setlist is good, and one thing I always like to hear is interaction between the band and the audience.  In the first set, we hear, “we want Phil. we want Phil.”  Phil makes reference to how well restrained the crowd had been in the nights before, and rewards the crowd with Box of Rain – one I always like to see in a setlist.

The Crazy Fingers > UJB > Playin’ is very good, but particulary the transition into Playin’ – it is right on the money.  Drums and Space are enjoyable, and this comes from a guy who used to wear out his fast forward button as he zipped through Drums and Space every chance he heard it – boy was I happy when I could just advance to the next track on a CD.

The post Drums and Space sequence is really nice with Miracle into a Maggie’s Farm that lives up to expectations.  This was the first time they had done this one on their own after having played it 3x while touring with Dylan a couple of months before.  It is un-rehearsed, spontaneous, and very hot.  Not all of the lyric assignments had been as worked out as they would be in later years, but the unknown often comes together and yields wonderful results.

Lovelight is short and sweet but hot, and is a good capper for the 2nd set.  The encore is a sweet Black Muddy River – one that always makes my eyes feel like they are about to well-up.  This one is well-played and by the book, but everyone sounds good, and Brent’s tinkling on the keys through the second part of the chorus makes the hair stand up on my arms.

Overall, this show more than satisfies, and is a good example of how the band could rise to the occasion when it needed to.  It’s a stellar show, and one I think you ought to listen to.  Let me know what you think.  Enjoy the show:

http://www.archive.org/details/gd87-09-19.sbd.mccarthy.396.sbeok.shnf

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15 Concerts in 15 Minutes (well, not exactly)

Recently, I was tagged on Facebook in a note that asked me to come up with 15 albums in 15 minutes – albums that were basically influential enough on me to make me change the way I looked at (or listened to) the world.  I think this is a great exercise, because if you are like me, you find that 15 albums is such a small allotment that it forces you to throw out a number of good albums in order to create a pretty concentrated list.  Rather than using this space for that list, you can see it here on our website.

 My cousin liked the Dead-leaning list and suggested that someone put a list together of Dead tunes along with a date for a favorite performance of that song.  I love the idea, so I will be working in collaboration here with him – he’s supplied the list of tunes, and I will now supply the dates.  I hope you enjoy (and I hope you know that I didn’t put this together in 15 minutes): 

• Morning Dew – 08/06/71 – This is the way this song should sound.  This is not quite primal Dead – they’re starting to come into their own – but they really know how to build this one up.  Bravo.  LISTEN
• Scarlet Begonias>Fire on the Mountain – 09/15/85 – This one was easy for me because this performance always blows me away.  The entire second set is a must have, but especially the Scarlet>Fire opener.  This one is silky smooth.  LISTEN
• Peggy-O – 10/30/77 – This one was pretty easy too.  I’ve long loved this version first because it has some sentimental value based on where it was performed, my alma mater, but beyond that, it is the right arrangement of verses and instrumental breaks that gives this one a certain gravity that really conveys the message and meaning of this song.  Also a very good show.  LISTEN
• They Love Each Other – 09/10/93 – This one was easy as well.  Two college roommates of mine were at this one and I have just always loved this version – Jerry really gets funky on this one.  If you are a Jackstraw fan, as I am, you cannot go without this show.  LISTEN
• Althea – 07/19/90 – This is one of my favorite shows-perhaps because I’m a bit partial to the home turf, but both sets are just so solid.  Althea can be a snoozer for me, but this one is really well-played, and upbeat.  Please listen to this whole show though, and let me know what you think.  LISTEN
• Row Jimmy – 06/10/90 – I really had to think about this one.  I’m not a huge fan of this song because it tends to drag for me, but this particular one’s got a bit of a bounce to it that moves it along quite nicely, and the interplay between Jerry and Brent at the end is very nice too.  LISTEN
• Wharf Rat – 07/27/73 – I couldn’t resist this one.  The Wharf Rat is kind of the dessert to the famous Watkins Glen Soundcheck Jam.  If that doesn’t mean anything to you, lots of luck.  This Jam>>>Wharf Rat combination is otherworldly; that’s all I can say about it.  LISTEN
• Help on the Way>Slipnot>Franklin’s Tower – 10/31/91 – This wasn’t my first choice which would have been the 08/13/75 version released as One from the Vault, but that would have been too easy.  This one has a certain intensity to it; in fact the whole show does, and I would definitely recommend sticking around and listening to the entire show.  LISTEN
• Terrapin Station – 06/15/85 – I’ve always liked this one.  I thought about selecting another date, but the interplay between Jerry and Brent during the solo is ethereal, and despite his strung-out sound during that period, he manages to hit this one out of the park.  The outro from this one is very nice too.  LISTEN
• Bertha – 07/08/78 – This one for me is so good because the band utilizes all of the different rhythmic qualities of the verse AND chorus, and they don’t just play it straight…Does that make sense?  Listen especially about half-way through Jerry’s solo.  This is a stellar version from a really stellar couple of shows that summer from Red Rocks.  LISTEN
• Loser – 05/08/77 – Tough one.  Loser isn’t a song I’m typically looking for in a set, although it is one that is fun to play on the guitar, so I know why Jerry played it.  I have to admit that this one I didn’t choose so much for the performance of the song, but for the show itself.  If you follow the music, then you know this date pretty well, and this version just happens to be very tight and powerful.  LISTEN
• Candyman – 10/14/80 – This too is a tough one.  Candyman is not the first song that comes to mind, but I do know that I like those early Brent versions of the song because of his ability to carry the harmony.  This is a nice quiet version of the song with a very laid-back pace to it.  LISTEN
• Stella Blue – 10/14/83 – This is the last easy one on the list.  You’re either a Stella Blue fan or you aren’t, and I happen to be one, and I can say that I don’t know of a single other performance of this one that combines the loneliness and eeriness of the front end of this song with such a warm and redemptive ending.  Unfortunately, the AUD does not capture it like the SBD.  Update:  Well, it looks like you get the AUD you wanted; the concert has been released as a Dick’s Picks edition.  LISTEN
• Goin’ Down the Road Feelin’ Bad – 02/20/71 – First of all, I love this one because it is the meat in a Not Fade Away sandwich, but the thing that makes this one smoke is how they work it out after the And We Bid You Goodnight instrumental part.  Truly a one-of-a-kind version as far as I’m concerned.  The Lovelight screams too.  LISTEN
• Throwing Stones – 10/09/89 – This one’s a bit tough for me because I think of it more as a setup tune than anything else-a kind of appetizer to the main course.  Having said that though, I’ve always liked this one mainly because it carries the mood of this show into the final number.  It also happens to be one of my absolute favorite shows ever.  Talk about intensity.  That Dark Star is a monster.  LISTEN 

I loved doing this, but I’ve got songs that I’m curious to know what you think about.  If you are reading, please try and come up with some dates to put next to the following songs: 

• Cumberland Blues
• Dark Star
• Let it Grow
• Shakedown Street
• Jack Straw
• Black Peter
• China>>>Rider
• Cassidy
• Sugaree
• Viola Lee Blues
• Uncle John’s Band

 Proving once again that we do more than just show you the best deals in the Phoenix real estate market; we show you how to get the most out of living in Arizona, and try to help you get the most out of what you are listening to.

Album Spotlight of the Week: The Steps

 

I’ve been listening to this album now for about the last 2 months and simply haven’t had an opportunity to review it, so here goes…finally.

We were asked to take a listen to this one by Ryan Cano, owner of The Loyalty Firm, and since it’s hard for us to turn down free music, how could we resist? …especially when he keeps sending us music like this (thanks Ryan, and keep it coming).

The Steps self-titled debut album sounds like less of a debut and more of an encore.  The songs definitely have a pop-friendly sound without sacrificing either substance or form.  They seem to work from a fairly standard song structure, but overlay some interesting chord changes and progressions that help twist this structure into something that makes them difficult to classify.  There is an edge to their music that is genuine rather than manufactured, and in an age where it has become increasingly difficult to tell whether a band REALLY looks or sounds the way they do, or if they’ve been told they should look and sound that way by some focus group, it is nice to see and hear the real thing.

Rather than just run through the album song by song, I’ll just say that there is plenty here for everyone.  There are lots of different sounds and influences that have been twisted and turned into something that is both current and relevant, and ultimately, something that I would recommend listening to.  It is easy to tell that their touring in Japan and the U.K. have helped to hone them into a very tight bunch in the studio, and that’s important to me –  anyone can sound great in the studio, but if you haven’t been tested on the road, you are just a one-dimensional studio band.  The recording quality, something I’m especially critical of, is also crisp and well-produced with plenty of punch, and it sounds great in the car. 

Enough talk, if you are interested in listening to the album go to The Steps MySpace page, or you can buy it on iTunes.  Give ’em a listen, or go check them out live – when you are on their page, check out their tour schedule.  They sound great in the studio, but I can tell you that I for one will go see them live the next time they’re in town.

Proving once again that we are the guys who talk about more than just Phoenix real estate; we talk about the things we enjoy and the things we have a passion for, and we hope that, at the very least, you can see that.  We invite you to comment or to suggest other topics about which we have perhaps not yet spoken.  Thanks again for listening

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Music is our passion.  And we hope it’s yours too.  Unbeknownst to many, Arizona has a burgeoning music scene spanning all genres and styles.  Arizona Premiere Music was created to cover Arizona’s music scene as well as cover other broad ranging topics regarding everything that is music.  We invite you to participate in the ongoing dialogue of our blog and share the enjoyment we all derive from music.