The fact that I still enjoyed this show despite the presence of Childhood’s End, Easy Answers and Victim Or The Crime>Samba In The Rain means one of two things. Either I’ve become acclimatized to the Dead’s unfortunate mid-90’s song selections or this was a pretty good show despite those four duds (and an I Fought the Law encore). I think it’s a little of both.
The most noteworthy song of the night is the 19+ minute Estimated Prophet that anchors the second set. The Dead were typically playing 11 – 13 minute versions of this song in 1994, with the occasional outlier thrown in, but tonight appears to be the longest version of the year (followed by a 17 minute one on August 1st at the Palace). This song starts tight and quickly flows out into free jazz territory while never quite tipping into Space – you can always hear Estimated Prophet in there somewhere. While not all of the musical ideas take full form, this is still an interesting piece of music with only a couple of brief noodling passages to bore you.
Backtracking a bit, the first set is ok. Jerry doesn’t botch lyrics too badly, and some of his songs, like Lazy River Road and Friend of the Devil, are good, straightforward renderings. There is some interesting call and response work at the end of Queen Jane Approximately that makes it worth hearing as well, and this Deal is a good 1994 version.
The China Cat Sunflower>I Know You Rider that opens the second set seems pretty sleepy, and things don’t get any better when we move into the aforementioned Victim or the Crime. However, coming out of Space, the boys put together a very pretty transition into the Wheel, and Attics of My Life is surprisingly well-sung. As if to acknowledge that the second set has probably not gotten a lot of butts out of their seats and dancing, the band closes the set with Sugar Magnolia, which probably did the trick.
This is a good AUD – listen here: https://archive.org/details/gd1994-07-26.AKG451.Darbys2nd.120292.Flac2448/gd1994-07-26.AKG451.t02.flac
Hanging out in the 1990’s again . . . Once you get settled into these shows, you realize that, in general, the Grateful Dead weren’t sucking as bad as you thought they did in 93, 94 and 95. There just aren’t as many highlights as in other years.
This show from the L.A. Sports Arena proves the point. There aren’t a lot of major musical errors and the band sounds engaged. But nothing really achieves warp speed. I’m listening to Crazy Fingers for the third time today, and I’m enjoying it, so I probably shouldn’t complain, since, going into this, I would have been shocked to hear them even get through that song in 1994 without problems. UPDATE: The Playin’ in the Band is surprisingly jazzy and deep for a short version of the song. Similarly, Let It Grow at the end of the first set is good, but nothing amazing. It follows on the heels of a very loose Loose Lucy that really gets to the heart of the song. And if you were in the audience, I bet that you were cheering hard every time you got to “thank you for a real good time”, because you were having one.
The audience recording of this show resides here: https://archive.org/details/gd94-12-18.akg.ladner.13530.sbeok.shnf
This 1994 show from Denver surprised me with a couple of very good tunes. My favorite song of the night was Bird Song. When the song begins, the first thing you notice is Phil’s bass lines, which are actually tucked into the groove. This changes as the band digs into the song, but it is an unusual and fun way to begin. As things progress, the song gets stranger and stranger (in a good way), eventually disappearing into a very heavy dose of drums and piano that would not have sounded out of place in a 1960’s jazz club. This is some serious playing with more sinister tones that you might expect on this tune. I’ve played it several times today and have been impressed more with each listen.
On the opposite side of the heaviness spectrum is the lighthearted Eyes of the World in the second set, with Jerry running away with things and Vince contributing some very nice keys. The Hell in a Bucket opener and a frolicking Sugaree are other good songs on this upbeat night.
Finally, there’s a lighthearted moment in the encore when the band launches into Brokedown Palace and Jerry pooches the very first line of the song and laughs. The band doesn’t miss a beat and they eventually start over with better results, but it’s good to hear everyone having fun. It must have been that Rocky Mountain air.
There is only one recording of this show on the Archive and it is an adequate audience tape – I’m glad it’s there: https://archive.org/details/gd94-12-01.aud.ladner.10932.sbeok.shnf
I picked today’s 1994 show from Madison Square Garden based entirely on the inoffensive setlist and was rewarded with a ho-hum performance that didn’t bother me but really didn’t give me much to write about, either.
Fortunately, there is one historical note to pass along. Today’s show was the first Dupree’s Diamond Blues since 1990 and it would be the last full band performance of the tune. Given the rust, it’s understandable that Jerry botches the lyrics a bit, but it’s otherwise not a notable run through this fun but typically straightforward song. Not a lot of jamming on Dupree’s, even in the best case scenario.
A few of the commentators on the Archive noted that Vince was in top form for this show and I’ve got to agree. For Vince, this is pretty good playing. Check out the orchestra sounds on When I Paint My Masterpiece for a rare Vince highlight.
Beyond that, the best part of the show, in my opinion, is the jam between Uncle John’s Band and Drums. Space is pretty interesting too. Otherwise, you’ve got a not-too-bad 1994 show with a good setlist, which is more than you’ll get on a lot of nights.
Here you go: https://archive.org/details/gd1994-10-13.sbd.miller.tetzeli.fix-33299.33822.reflac.flac16
There are a bunch of under the radar shows from the mid-90’s that don’t make you want to head for the hills, and this little gem from Philly is a great example of one of them.
First of all, the setlist is pretty good for any era, featuring Jack Straw followed by Friend of the Devil to lead things off and a second set Playin’ in the Band>Uncle John’s Band. (More on that later). The highlight of the first set is a long, well done Deal. Even though there are a couple of lyrical flubs here and there, Jerry digs deep into the solos and never lets go over the course of 13 glorious minutes. He’s engaged and on top of things throughout.
The second set begins with Midnight Rider>Cumberland Blues. The Archive commentators, who by and large seem to have actually been in attendance at this show, love this sequence, but I don’t get it. That’s ok, because right afterwards we get the aforementioned Playin’ in the Band>Uncle John’s Band that segues into Drums, featuring Jerry onstage throughout with Billy and Mickey.
One of my criticisms of mid-90’s Dead is that the jam sections are cobbled together and none of the bands members seem to be interested in listening to one another. Jerry is usually the worst of the bunch. That problem doesn’t exist here, and the jammier passages of Playin’ and UJB are beautifully done, with contributions from everyone. The Jerry-Drums goes way out there, but it never relies to heavily on midi sounds, skirting around the other effects on the pedal board. It’s a neat passage.
This is definitely a show that holds up under repeated listening and it deserves at least a go. Here it is: https://archive.org/details/gd94-10-05.sbd.unknown.6483.sbeok.shnf
Today is one of those days with no Easy Answers (that’s a pun, but fortunately it’s also true). The Grateful Dead only played one show on July 20th throughout their entire history, and it was this one on a rainy day in the middle of Indiana, 1994.
Childhood’s End (not the much better Pink Floyd song but the Phil Lesh mess) and Mathilda (typically played as the disappointing follow up to Corrina) both debuted today and that’s about all you need to know about this show.
What else . . . well, the first set is incredibly short and since it’s raining, the second set features three songs in a row about rain (Box of Rain – good song, awful version, Samba in the Rain – you know the drill, and Looks Like Rain – not Bob Weir’s best) followed by Here Comes Sunshine, which has not aged well. The Uncle John’s Band really goes nowhere except into I Need a Miracle, which is what you’ll need to get to this point of the show. Morning Dew is at least adequate to end the second set, but you can hear all of Jerry’s 90’s limitations on the Johnny B Goode encore.
If you’re adventurous, here’s the link: https://archive.org/details/gd94-07-20.sbd.darkstar.12596.sbeok.shnf