Today in Grateful Dead History: July 18, 1972 – Roosevelt Stadium, Jersey City, NJ

stealieTime is short today, which stinks because I could write two thousands words on this excellent show and not sum it up properly.  After further review, I even added this show to my “best of” list because, for some reason, this crappy stadium brought out something extra special in the Dead and why not have three shows from Jersey City in the mix. Anyhows, since there is so much to talk about with this gem, I’ll do a really quick list:

  1. After a whirlwind tour of Europe in the spring, the Dead took some time off before heading out for the summer.  There was a one off show at the Hollywood Bowl on June 17th and then a month before they opened the summer tour in Hartford on July 16th.  So they are rested.
  2. Pigpen was very ill at this point and didn’t come with the band on this tour.  This would obviously completely alter the history of the Grateful Dead.  For tonight’s purposes, it represents a dramatic left turn, song-selection wise.
  3. This is as raw a show as you are going to hear between 1972 and 1974.  It is just all power and very heavy guitar.  If you doubt me, listen to the AUD.
  4. You’re going to hear the first Bird Song in almost a year.  Enjoy that.
  5. Stella Blue debuted at that Hollywood Bowl show in June and was played in Hartford as well, but since this was the 70’s and music didn’t travel via the internet, I’m pretty sure that almost no one in this crowd had heard it before.  (Wake of the Flood didn’t come out for another year).  It’s amazing to hear everyone talking and yelling during the slow start, only to suddenly come under the spell of this completely new song.  Jerry works the mojo throughout in a special version that stuns everyone into submission.
  6. Oh dear Lord, Playin’ in the Band is an all time monster of guitar noise.  One of the best “shorter” versions you’ll ever hear.
  7. If that’s not enough, get ready for Truckin’>Dark Star.  This is not delicate music, and comes as close to rocking as Dark Star will ever come, but it is also totally unique and impressive and gets better every time you hear it.  Again, check out the AUD if you want to hear what this does to the people in attendance and if you want to get the gist of just how much energy was flowing from the band tonight (it’s a lot).
  8. Dark Star segues into a crystalline Comes a Time that, if you were really into that Dark Star, is going to make you cry.
  9. The rest (and there is still a ton before they’re done in this three set show) is quite the party, including an off-the-hook, second-time-played Mississippi Half-Step Uptown Toodeloo and a brilliant, perfectly placed Sing Me Back Home.

I’ve written more than I thought I would.  Since this show is obviously a beast, go from Playin’ in the Band through Comes a Time for the best part and add Stella for an encore.  But it deserves to be played repeatedly and loudly, in full.

Matrix here:


Today in Grateful Dead History: September 28, 1972 – Stanley Theatre, Jersey City, NJ

stealieThe Grateful Dead Listening Guide has a perfect post describing this show and the Dead’s September ’72 output in general, so go there and read that.

I don’t have much more to add.  This show is a beast throughout, with the highlights being Playin’ in the Band and The Other One, as they often are in 1972.  I will note that The Other One is based around a lot of space – there are times where it goes very far out there and the distance becomes almost untenable.  But the band brings it back in by the end.

Seriously, just read the essay on the Grateful Dead Listening Guide and enjoy.  I’ll be more thorough tomorrow (today, since this is being posted late).

Listen here:

Today in Grateful Dead History: September 26, 1972 – Stanley Theatre, Jersey City, NJ

stealieWhen last we spoke about 1972, I warned you that September was chock full of incredible Grateful Dead music.  Exhibit A – tonight’s show, the first of three nights in a row at the Stanley Theatre (people in Jersey can’t spell too good), is the worst of the three and it’s still amazing from start to finish.

Things get off to a fast start with The Promised Land, Cold Rain and Snow and Me and My Uncle, but it’s when the boys slow things down on He’s Gone where you really start to get the sense that something is in the air.  In later years, the band would lean heavily on dirgey vocal improvisations at the end of this song, but during 1972, and at this point in 1972 in particular, the closing jam was all guitar, with Jerry and Bob lashing back and forth while Phil scurries around on the notes in between them.  Tonight’s jam strikes that tenuous balance between fragile and fractured that makes the best He’s Gones so gripping.

Skipping ahead to Deal, you hear just how confident everyone is.  This isn’t the best version you’re going to hear, but Jerry rips off several tight solos and lifts the band with him.  Big River, sometimes just a vehicle for tight bursts of Jerry’s manic guitar wizardry, chortles down the tracks like a train on a schedule, with everyone pulling their weight and the engine in perfect time.  The first solo in Sugaree comes in hot, almost feeding back, but when Jerry pulls it together, it’s a brilliant thirty seconds of music.  It’s interesting to hear it in its raw state.  Ditto Around and Around, which had not been played too much yet.  It sounds amped up yet cautious, as if the Dead are still figuring out the best way to make it their own.  (Maybe they should have stuck with this version).

We’re missing the second set opening Bertha, one of several flaws with this recording including major cuts in Cumberland Blues and The Other One.  But nothing is missing from Playin’ in the Band tonight – it’s a twenty-two minute barn burner that achieves great things three quarters of the way through.  (And if you think this one is good, wait until the 28th).   A few songs later, we get one of the Dead’s ten versions of Tomorrow is Forever, and a good one at that.  This tune really shows off Donna’s ability as a background vocalist and is much more in her range than most of the other songs that she sang with the Dead.  The second major piece of the second set is Truckin’>The Other One.  It’s not possible to write about these extra long segments of music without listening to them ten times, and I don’t have the capacity to do that.  So just plug in and enjoy the ride on this one – it gets better as it goes, that’s for sure.  At the end of The Other One, we end up with It’s All Over Now Baby Blue, which fits in perfectly here.  The Dead had played this tune off and on in 1966 and then again in 1969-70, but they would only play it twice in ’72 and once in ’74 before setting it aside until the 80’s.  So enjoy it while you’ve got it.

The next two days of music are even better than this one, so if I don’t make it back to 1972 this week, and if you have the extra time, sample those shows, too.  Otherwise, enjoy this one here:

Today in Grateful Dead History: September 9, 1972 – Hollywood Palladium, Los Angeles, CA

stealieDear Lord, September 1972 is just a beast of a month, isn’t it?  This show probably isn’t in my top five shows from this month, and yet it’s still a monster from start to finish.

Let’s back up a moment.  If you listened to yesterday’s show from Nassau Coliseum in 1973, you would have heard eleven of the same tunes that the Dead played tonight, but the difference in tone between 1972 and 1973 makes them sound like a totally different band.  1972 Dead, even as it enters this fall-winter period of transition, is a raw force of nature that has been honed to a point, capable of subtle changes of direction but, more often than not, astonishing runs of pure psychedelic power.  1973 Dead has spread out and softened, with the interplay getting deeper and the spaces between the instruments deepening.  If you want the force of primal 1968-69 Dead coupled with the complexity of the 1974 shows, then 1972 is your year.

This explosive, borderline aggressive energy shows up all over tonight’s show, but Exhibit A is He’s Gone>Truckin’ in the second set.  He’s Gone remains relatively mellow until the end, but Truckin’ progresses quickly from the initial verses into a very loud, chortling bomb of a jam that crawls forth across a five minute period in the middle of the song.  From there, we’re knee-deep into a thirty-four minute version of The Other One, which is probably ten minutes too long, but the extra time is filled up with some passages that closely resemble Feedback or Space, losing their tether to the tune only to be brought back to earth time and time again.

Once The Other One ends the band calms things down with Stella Blue, but Jerry Garcia’s exit solo rears right back into the primordial energy that the band has been feasting on all night for a beautiful and unique moment of bliss.  This is a special ending to Stella.

While this passage represents approximately an hour and ten minutes of music, it’s not even close to half of the show.  Tonight we’re also treated to a substantial and imaginative Playin’ in the Band AND a nice Bird Song that doesn’t hold a candle to some of the more memorable 1972 Bird Songs but would be a top notch version in any other year.

To add to the fun, this Matrix recording (based off of a really nice, pure Audience recording by Bruce Harvie) really shows off Keith, Phil and Bob.  Keith, more than any other member of the band at this time, tends to get buried in the mix, but tonight he’s clear throughout, especially on Friend of the Devil.  Phil weaves in and out, but when he’s loud it’s a treat.  There are even points where Bob Weir’s playing is highlighted, and his playing, in particular, is spectacular tonight.  But you could say that about everyone here – the Grateful Dead are at the top of their game, and the best shows of September, 1972 are yet to come.

Listen to the Matrix here:

Today in Grateful Dead History: May 13, 1972 – Lille Fairgrounds, Lille, France

stealie NOTE: This material was originally published in 2015 on my previous site. It has been updated and edited, sometimes heavily, and was posted in several batches in August, 2016.

This show’s backstory is pretty neat. While playing in Paris, the Dead were approached by a group of radical students who felt that it would be more appropriate for the band to play a free show for the masses instead of *gasp* charging for tickets. The Dead declined the students’ offer since they were already booked to play a show in Lille the next night and couldn’t very well cancel it. Members of the Dead’s road crew may or may not have thrown food at some of the students. In any event, the “revolutionaries” did not take too kindly to this rejection and sabotaged the band’s equipment truck, forcing them to cancel the Lille show (but not until the band was already in the building). Well, the folks in Lille (who had paid for their tickets) were none too happy with this turn of events and barricaded the theater. Certain members of the band had to sneak out through their dressing room window, but not before promising to return to Lille and play a free show. That would be this performance, which was indeed free AND outdoors, a rarity on this tour.

Musically, the show is pretty darn good, showcasing a fun China Cat Sunflower>I Know You Rider and the usual (for Europe ’72) smokin’ Playin’ in the Band. But the real highlight is the thunderous Truckin’>The Other One, which devolves into some serious weirdness before emerging into the sunlight as one tightly wound, massive jam. A great version, even by the standards of this exceptional series of shows.

Here is the link to the almost-complete soundboard recording:

A better sounding version of just Truckin’ through He’s Gone is here:

Today in Grateful Dead History: May 4, 1972 – Olympia Theater, Paris, France

stealie NOTE: This material was originally published in 2015 on my previous site. It has been updated and edited, sometimes heavily, and was posted in several batches in August, 2016.

Another day, another Europe ’72 show. The Dark Star stretches to almost 30 minutes and it twists and turns and has so many different moods that it is impossible to describe it. You will need to hear it twenty times before you have any sense of where it’s going.

Good Lovin’ is also a keeper. At times, it seems as if the band is trying to move in several directions at once and they never quite find that “magic” space, but it’s still a fun journey. If you like to hear Keith and Pigpen actually play their instruments, then this is a show for you – both are (relatively) high in the mix.

Stream the soundboard here:

Today in Grateful Dead History: April 29, 1972 – Musikhalle, Hamburg, Germany

stealie NOTE: This material was originally published in 2015 on my previous site. It has been updated and edited, sometimes heavily, and was posted in several batches in August, 2016.

If you’ve just started reading this site, or for those of you who don’t pay much attention to the mechanics of live Grateful Dead recordings, there are three main types – the soundboard (recorded directly from the soundboard mix that is output to the PA system in the hall itself), the audience (recorded by a member of the audience on a microphone pointed at the stage) and the matrix (where some lunatic takes a soundboard and an audience recording from the same show and attempts to mix them together to achieve the perfect balance). People have their personal tastes, but I’d say that a majority of listeners favor the soundboards because they typically have a much cleaner sound and a better contrast between the instruments than the audience recordings. But a good audience recording can be wonderful to listen to, and today’s show is a fine example of one.

This show, from Hamburg on the band’s 1972 European tour, is not one of the best from that run. When you read the comments on this particular show, you get a lot of “great sounding recording” but not a lot of focus on the music itself, because most of the songs are pretty standard versions. However, the Dark Star is better than average, even though the ending crashes unsteadily into Sugar Magnolia.

Here’s the link to the audience recording:

For the soundboard fans: