ESCAPING THROUGH THE LILYFIELDS

#SeeThatGirl

Thursday, May 31, 2018

Werewolves of London (Truly, Madly, Deeply), October 31, 1990




On Halloween Night in London Town, the Werewolves of London came back again. It was 1990, Ice Ice Baby was about to top the British charts, The Cure and Public Enemy were on the cover of New Music Express , but the Grateful Dead came back to England on Halloween, one night away from ending their three week European tour.

This was a mere three months after the death of Brent Mydland, but the band kept playing on.  they would save Dark Star for the next (final) night but they started hot here with Help on the Way>Slipknot>Franklin's Tower, Bird Song, Scarlet>Fire, and encored with Werewolves, which was a special Halloween treat http://www.gratefulseconds.com/2015/10/one-more-halloween-night-dead-shows-on.html, the 11th of 12 versions, and the second of three on 10/31 (1985, 1990 and 1991).

This was also the penultimate and 20th of 21 times the Grateful Dead played in London.
Enjoy and read all the interesting, and watch the voodoonola video























Friday, May 25, 2018

The Twenty that Came From California In A Seatless Bus Show, Rochester November 8, 1985

Here they are:
 

Back to Rochester, this time we take our time machine to November 8, 1985.  In the middle of a long two-month October-November winter cold rain tour, our boys roll out Baby What You Want Me To Do and Revolution. 


So it was cool and it was fine. And as usual lots to read about before and after the show from the Rochester Democrat and Chronicle.  


Check Out the post-drums little cosmic-cowboyish medley of The Other One>I Need A Miracle>She Belongs to Me.  Oh 1985, your setlists warm my heart





Here's the Rochester goods.








Wednesday, May 23, 2018

Slobs and Me-Heads, Carson, CA May 5, 1990




So right before Jerry took a little holiday to Hawaii, http://www.gratefulseconds.com/2018/01/jerry-garcia-leaves-lsds-heights-for.html, the Dead come out of their post-Spring tour break to play a pair of college shows at Cal State Dominguez Hills in Carson, California. let's talk about Saturday (here)

This the era where the Dead were being banned from places like the Greek in Berkeley and Frost at Stanford, and ironically at this venue in Carson, a few days after the show.

But these one-off shows were pretty good one, despite Deadbase Fans not placing them in the top-20 for the year.


After Let the Good Times Roll (Cars version, i wish), the Dead do a Derby The Race Is On, which they forgot to do in 1977 and 1978 and 1979 I recall.

Then , wtf the band launches Help on the Way>Slipknot>Franklin's Tower in the middle of the first set!!  According to my 2015 study http://www.gratefulseconds.com/2015/10/complete-help-on-way-history.html, this is the once-only mid-first set version of HSF.  In my 4th show on April 23, 1977, I saw a mid-second wet HSF (my only mid-second set version) so I know how this feels.

One More Saturday Night closed the first set which I always love and rarely saw.

This was a radio broadcast and a smashing second set setlist too with Truckin>Crazy>Playin>Uncle John's all before the drums.  So have fun, here's another rarely considered jewel in the crown of Dead shows.

And boy did Bill Graham look handsome below, wish he had survived and hear alot more Touch of Greys.















Monday, May 21, 2018

The Grateful Dead Is Still Worth Taking A Chance On Estimated>He's Gone>Eyes of the World Show, San Bernardino, December 12, 1980



After Lewiston and the Acoustic Shows through Halloween, the Dead played some remarkable music in the Deep South (see Shakedown>Franklin from 11-26) and ended up with a few southern california California gigs before heading home to Oakland for my first five night stand. 

On this night at the Spectacular Swing Auditorium, home of many a magnificent show, and the birth of Terrapin, we see the only time the Dead couldn't make up their mind, and played He's Gone AND Eyes of the World after Estimated Prophet. Files here   http://www.gratefulseconds.com/2017/03/second-set-structure-1972-1982.html  and http://www.gratefulseconds.com/2018/03/eyes-of-world-exceptions-in-eee.html  give more insight into Estimated. Oh and http://www.gratefulseconds.com/2017/03/estimated-one-time-only.html  You can tell i like to write about Estimated.






Alabama Getaway > Greatest Story Ever Told ; Friend Of The Devil ; Mama Tried > Mexicali Blues ; Althea > Little Red Rooster ; Peggy-O ; Looks Like Rain ; Tennessee Jed ; The Promised Land

China Cat Sunflower [6:24] > I Know You Rider [5:23] > Estimated Prophet [10:33] > He's Gone [11:16] > Eyes Of The World [9:38] > Drums[10:29] > Space [9:43] > Truckin' [8:19] > Wharf Rat [9:23] > Around And Around [3:58] > Good Lovin'
Encore Don't Ease Me In [3:02]







Wednesday, May 16, 2018

Rolling Stone Magazine's Top-20 Dead Shows




This MSG show is in top-20 of all time according to Rolling Stone.  It might be in the top-20 of 1991 in my opinion.



http://www.rollingstone.com/music/news/20-essential-grateful-dead-shows-20130408

Certainly not my top-20 but interesting
How can only 4 of the last 16 occur outside the Bay Area??

The Matrix, San Francisco
December 1st, 1966

Winterland, San Francisco
March 18th, 1967

Dance Hall, Rio Nido, California
September 3rd, 1967

Carousel Ballroom, San Francisco
February 14th, 1968

Dream Bowl, Vallejo, California
February 22nd, 1969

McFarlin Auditorium, Dallas
December 26th, 1969

Fillmore East, New York
February 13th, 1970

Harpur College, Binghamton, New York
May 2nd, 1970

Capitol Theatre, Port Chester, New York
February 19th, 1971

Aarhus University, Aarhus, Denmark
April 16th, 1972

Bickershaw Festival, Wigan, England
May 7th, 1972

Civic Center, Philadelphia
August 5th, 1974

Great American Music Hall, San Francisco
August 13th, 1975

Beacon Theatre, New York
June 14th, 1976

Winterland, San Francisco
June 9th, 1977

Civic Center, Augusta, Maine
October 12th, 1984

Madison Square Garden, New York
September 18th, 1987

Hampton Coliseum, Hampton, Virginia
October 9th, 1989

Nassau Coliseum, Uniondale, New York
March 29th, 1990

Madison Square Garden, New York
September 14th, 1991

Full Story

20 Essential Grateful Dead Shows
Sublime solos, 30-minute jams and a fierce show in a Danish cafeteria – 20 must-own gigs for every Deadhead

The Grateful Dead perform in San Francisco in 1970 Robert Altman/Michael Ochs Archives/Getty Images
By David Fricke
April 8, 2013
More News
Jerry Garcia: 1942-1995
Iconic Photos of Jimi Hendrix and More
All Stories
Choosing and justifying a list of essential Grateful Dead shows – 20, 200 or even 2,000 – is treacherous work. Passionate challenge from fans, especially hardcore Deadheads and veteran tape traders, is guaranteed. Endless debate over set-list minutiae is inevitable. In fact, there is only one definitive list of the Dead's greatest concerts – and it includes every show they played, in every lineup, from their pizza-parlor-gig days as the Warlocks in 1965 until guitarist Jerry Garcia's death in 1995. That long, strange trip was a continually unfolding tale of highs and trials, dedicated evolution and surrender to the moment, often caught vividly in the recording studio but told most immediately each night (or day) onstage. This list jumps and dances through the story, but it's not a bad place to start, if you're not in deep already: more than 40 hours of performance from key runs and one-nighters in every decade, drawn from archival releases, the vast amount of circulating recordings and my own good times with the music. These 20 shows are genuinely essential in at least one way: If I had no other live Dead in my collection, I would be happy and fulfilled with this. Luckily, there is more. I already have lots of it. I will never have enough.

The Matrix, San Francisco
December 1st, 1966
In late 1966, more than a year into their evolution, the Grateful Dead were still in the early stages of their psychedelia: an acid-dance band with bar-band aggression, tripping in its jams but just starting to write and largely reliant on folk and blues covers. These three sets at the Matrix – a club founded by Jefferson Airplane's Marty Balin – catch the original quintet in primal, exuberant form, slipping early originals such as "Alice D. Millionaire" (a pun on a newspaper headline after Owsley, the band's sound man and resident chemist, was busted) amid R&B-party favors (the Olympics' 1960 hit "Big Boy Pete") and future cover staples including the traditional "I Know You Rider" and John Phillips' "Me and My Uncle." In a spirited thrashing of "New Minglewood Blues," guitarist Bob Weir sings like a hip, brash kid, which he was (Weir had recently turned 19). "Welcome to another evening of confusion and high-frequency stimulation," Jerry Garcia announces in the first set. The long, strange trip was under way.

Grateful Dead's First Decade Captured in New Photo Memior

Winterland, San Francisco
March 18th, 1967
Warner Bros. Records released the Dead's debut album, The Grateful Dead – a sonically brittle, high-speed version of the group's stage act and songbook – on March 17th, 1967. That evening and again on the 18th, the Dead opened for Chuck Berry at Winterland, performing much of that record's material on the second night with more natural vigor and plenty of room for Garcia to go long and bright on lead guitar. His fusion of folk guitar and bluegrass facility with blues language and Indian modality, shot forward in a clean, stinging treble, is on dynamic display in a rightly extended "Cream Puff War" (cruelly faded out after two minutes on the LP), Martha and the Vandellas' "Dancing in the Street" and the Dead's signature rave-up on "Viola Lee Blues," originally cut in 1928 by Cannon's Jug Stompers. Also note the thrilling, slippery surge underneath – bassist Phil Lesh and drummer Bill Kreutzmann pushing and tugging at the beat – as Garcia affirms his nickname, "Captain Trips," overhead.

Dance Hall, Rio Nido, California
September 3rd, 1967
Time was an elastic concept on a Grateful Dead stage – a song ended only when every possibility embedded in the structure and set loose by the group's improvising empathy was tested and fulfilled. Lesh thought enough of this night's 31-minute stretching of Wilson Pickett's "In the Midnight Hour" – most of it given to Garcia and organist Ron "Pigpen" McKernan's hard-lovin' vocal charm – to include it on his 1997 live anthology, Fallout From the Phil Zone. "Song" is a loose word here: Choruses and chord progressions are departure points. "Viola Lee Blues" is epic, rude hypnosis, twice the length of the version on The Grateful Dead. The accelerating instrumental break is a glorious connected fury – five voices racing in parallel but jamming as one. The long, early roll on "Alligator," a chugging, spaced-blues feature of 1968's Anthem of the Sun, was further evidence that the Dead's rapidly advancing idea of dance music on that album – a combination of acid, freed rhythm and no fear – was on its way.

Carousel Ballroom, San Francisco
February 14th, 1968
Anthem of the Sun, the Dead's second album, may be the most authentic musical document of the San Francisco renaissance: a union of interior psychedelic exploration and truly liberated rock & roll; a continuous drive to light via mad studio alchemy and the Dead's already proven specialty, live performance. Elements of this show – the official opening of the Carousel, a collective attempt by the Dead and other local bands to mount an alternative to the Fillmore's dominance – were used on Anthem; the show was also broadcast live on the radio and officially issued, at last, in 2009 as Road Trips Vol. 2 No. 2. It is basically Anthem as it happened every night, on the way to vinyl. The weightless rapture of "Dark Star" – recorded in studio miniature the previous year, released as a single in April 1968 – is already in mutating bloom, segueing into the dadaist funk of "China Cat Sunflower" and the elliptical rhythm of "The Eleven," while the second half of the show is every song on Anthem live, in sequence and excelsis.

Dream Bowl, Vallejo, California
February 22nd, 1969
This show, on the eve of the long weekend at the Fillmore West that was taped for 1969's Live Dead, is a beautifully recorded artifact of the Dead at a different, simultaneous juncture: during a break from the studio sessions for 1969's Aoxomoxoa, where they were spending a fortune crystallizing the cryptic but compelling lysergic romanticism of the songs Garcia was writing with lyricist Robert Hunter. The first set opens with two songs that would appear on that album: the outlaw ballad "Dupree's Diamond Blues" and the delicate "Mountains of the Moon," the latter sung by Garcia with a brave (for the stage) vulnerability, framed by spidery guitar. The "Dark Star" that follows is arguably an equal – in spatial elegance and endearing, monkish vocal harmonies – of the one immortalized on Live Dead. Add a hellbent second set (starting with the choppy cheer of Aoxomoxoa's "Doin' That Rag") and astonishing fidelity, and it's hard to believe this night is not yet an official live album.

Good Old Grateful Dead: Rolling Stone's 1969 Cover Story

McFarlin Auditorium, Dallas
December 26th, 1969
The addition of acoustic sets to the live experience, at the end of the Sixties, was a characteristically eccentric progression for the Dead: a smart step back – to the group's folk, bluegrass and roughed-up-country origins as the Wildwood Boys and Mother McCree's Uptown Jug Champions – on the way to a great leap forward as songwriters and vocal harmonizers. The unplugged set in Dallas opens with a song from the Mother McCree days – "The Monkey and the Engineer," by the Bay Area-based bluesman Jesse Fuller – and includes the traditional "Little Sadie" and the country mourning of "Long Black Limousine," recently cut by Merle Haggard. The psychedelic-ballroom era is still here in "Dark Star" and "Turn on Your Love Light." But in between the two is crackling proof of the group's emerging voice, along with emphatic notice of utopia's end: "New Speedway Boogie," Garcia and Hunter's memoir of the death and debacle, only three weeks earlier, during the Rolling Stones' free concert at Altamont.

The Grateful Dead winterland san francisco 1977
The Grateful Dead at Winterland in San Francisco in 1977 Ed Perlstein/Redferns/Getty Images
Fillmore East, New York
February 13th, 1970
Topping a bill that included Arthur Lee's Love and the Allman Brothers Band, the Dead played with superlative consistency across this entire engagement: two concerts each on the 11th, 13th and 14th (with a club date squeezed in on the 12th). Guitar nirvana arrived early, when Duane Allman and Fleetwood Mac's Peter Green joined the band on the 11th for "Dark Star." Owsley drew tracks from the 13th and 14th for his 1973 anthology, Bear's Choice, and additional material from those nights was released as Dick's Picks Volume Four. But the three-set late show on the 13th, which didn't start until after 1 a.m., is a popular contender for the holiest of holies – the greatest of them all. "Dire Wolf," in the first electric set, has the deft balance of earth and electricity the Dead were negotiating in the studio for Workingman's Dead. A winding passage through another "Dark Star," then "The Other One" and a rousing "Turn on Your Love Light" finally ended near daybreak – a fitting hour for a band always driving through space, to sunshine.

Harpur College, Binghamton, New York
May 2nd, 1970
For the Grateful Dead, touring wasn't just a living – it was an imperative. Performance was their primary form of expression and sharing. In taking their version of the San Francisco experience on the road, ­especially to colleges, the band exposed greater America to the ferment and ­possibility born in the Bay Area, converting the nation one campus at a time. This show is routinely cited as one of the Dead's best – ever. It is easy to agree. The acoustic set – a warm, beguiling preview of the country and pathos on the imminent Workingman's Dead and ­American Beauty – includes the traditional ­spiritual "Cold Jordan" and a version of the Dead's rare, first single, 1966's "Don't Ease Me In." When the amps go on, the Dead play like they're working at a college mixer, jamming on their Young Rascals and Motown covers, with McKernan unleashing his inner James Brown in "It's a Man's Man's Man's World," a unique feature of this year. Get the whole night, across three discs, on Dick's Picks, Volume Eight.

Capitol Theatre, Port Chester, New York
February 19th, 1971
The dead's fabled six-night stand at this small hall, a short train ride north of New York City, opened with great promise and unexpected trial. On February 18th, the group debuted five new songs, all destined for permanent high rotation: "Bertha," "Greatest Story Ever Told," "Wharf Rat," "Loser" and "Playing in the Band." But after that show, drummer ­Mickey Hart – devastated by revelations the previous year of embezzlement by his father, Lenny, during a spell as manager – went on a personal hiatus. The group responded to the loss the following night (issued in 2007 as Three From the Vault) with determination, opening with a vigorous "Truckin'," and McKernan's growling sympathy in the Elmore James blues "It Hurts Me Too." The streamlined propulsion recalled the Dead's dance-band days; the repertoire and instrumental cohesion showed the band at a freshened high. That March and April, the Dead would record the shows featured on their Top 30 live album, Grateful Dead, a.k.a. "Skull and Roses."



Aarhus University, Aarhus, Denmark
April 16th, 1972
On their 1972 european tour, their first major trip abroad, the Dead – with the husband-and-wife team of pianist Keith and singer Donna Godchaux fully integrated into the lineup – were "laying down the framework of what we were up to, to a brand-new, cold audience," Weir said in 2011. This show is a delightful example of that salesmanship held in close quarters: a college cafeteria. The material goes back to the first LP and thoroughly covers the reinvented Americana initiated on Workingman's Dead before the Dead unleash a climactic blast of Fillmore dance-floor action: a nonstop set of spirals and slaloms that starts with "Truckin'," melts into "The Other One" and comes to Earth via Woody Guthrie and Buddy Holly. Nothing here made it to the triple LP Europe '72. But the performance – included in the sold-out 2011 Europe '72 box and available separately – is solidly transcendent: a characteristic good time at a true peak in the Dead's concert history. Check it out. It could be your next favorite Dead gig.

Bickershaw Festival, Wigan, England
May 7th, 1972
This was a day made for "Cold Rain and Snow": wet, chilly and muddy, typical English festival weather. The Dead did not play that song during this legendary near-four-hour appearance. Instead, the group, halfway through its European tour, gave the huddled masses at Bickershaw something more heated and unforgettable: the '68 trip at '72 strength in an hourlong sequence of "Dark Star" and "The Other One," the latter then easing into the wistful country pining of Merle Haggard's "Sing Me Back Home." Bickershaw (also in the Europe '72 box and available separately) was the Dead's truncated, underwhelming show at Woodstock in 1969 made good, a memorable reward for an audience sabotaged by the elements. McKernan, in particular, was in defiantly strong and comic vocal form. It was one of his last performances. The singer-organist, suffering from liver disease, played his final show with the Dead a month later in Los Angeles, and died in March 1973. He was 27.

Civic Center, Philadelphia
August 5th, 1974
The dead played two concerts in this cavernous arena on August 4th and 5th. I worked at both of them, as part of the security team. My station was in the left-side bleachers, near the stage – the press section, where I spent a lot of time talking to Deadheads without passes who told me, "Hey, man, I'm Jerry's cousin" and "Bobby said it was cool to sit here." After the lights went down, it was easier to just let them through and concentrate on the shows: prime nights delivered through the Dead's visually breathtaking concert-audio miracle, the Wall of Sound. Choosing one of these two dates is tough. The second set on the 4th has a full rendering of the pensive-to-­urgent "Weather Report Suite," from 1973's Wake of the Flood. I've gone with the next night, for the prolonged elevation in "Truckin' " and the dazzling descent into "Stella Blue." Excerpts from both shows are on Dick's Picks, Volume 31. Alas, the live intermission performance of Seastones, Lesh's electronic collaboration with Ned Lagin, is not.

Great American Music Hall, San Francisco
August 13th, 1975
Exhausted by the logistical and financial strains of touring with the Wall of Sound, the Dead stayed away from the road in 1975 – playing only four shows that year, all of them at home. This was one: an intimate record-release party for Blues for Allah, one of the Dead's best studio LPs. Their pride in the new music and the healthy effect of their break from the grind are evident in the relaxed, textured swing of this performance. The contagious gait and sparkle of "Help on the Way," "Franklin's Tower" and "The Music Never Stopped," all from Allah's first side, stayed in the live sets for the rest of the Dead's touring life. The night, released as One From the Vault, also featured a buoyant "Eyes of the World," some Johnny Cash and Chuck Berry, and the deep space and abstract magnetism of Blues for Allah's title track. The Dead never played that one live, in full, again. "That song was a bitch to do," Garcia noted in 1991. "In terms of the melody and phrasing and all, it was not of this world."

The Grateful Dead shoreline california 1989
The Grateful Dead perform in California in 1989 Tim Mosenfelder/Getty Images
Beacon Theatre, New York
June 14th, 1976
The Dead ended their 20-month hiatus from touring in June 1976. The Beacon was the third stop on the tour. This concert was the first of two there, and the recording from that generously long night confirms the relief and satisfaction I felt a week later, when I saw one of the band's four shows at the Tower Theater in Philadelphia. The Dead were rested and rejuvenated, already playing with an excited momentum and clarity that would carry into the nightly perfection of their spring '77 tour. "Cassidy," in the first set here, is an exemplary snapshot. Weir and Donna Godchaux harmonize in easy, bracing formation across Kreutzmann and Hart's polyrhythmic carpet; Keith Godchaux laces the twin-guitar rain with gracefully executed saloon-piano flourishes. In the second set, Garcia sings the reflective irony of "High Time" with plaintive force, before the real high times start: long, assured expeditions through songs from Blues for Allah and Aoxomoxoa. Another golden era was under way.

Winterland, San Francisco
June 9th, 1977
For sublime singing, instrumental union and sequencing bravado, there may be no greater sustained run of shows, certainly in the Keith-and-Donna years, than the Dead's spring '77 tour. Highlights are plentiful: Five concerts from one week in late May have come out on archival releases, and the May 8th show at Cornell University in Ithaca, New York, is often cited in greatest-ever terms. But I keep coming back to this valedictory blast on home ground – the end of a three-night stand and the final gig of the tour – because of the second set. It has the jagged acid-flavored reggae of "Estimated Prophet," from the Dead's next album, Terrapin Station; passes twice through "St. Stephen"; includes all of Terrapin's seductive title suite; and ultimately lands, an hour later, in "Sugar Magnolia." I described that medley, in my liner notes to the 2009 box set Winterland June 1977, as "all of the Deads in one – the lysergic delirium; the country-rock comfort; blues-party time; the electric seeking." I haven't changed my mind.

Civic Center, Augusta, Maine
October 12th, 1984
The Eighties were an uneven decade for the Dead. There was new blood: keyboard player Brent Mydland. But Garcia was in perilous health, and studio recording lapsed after 1980's Go to Heaven. There was a Top 10 single at last: "Touch of Grey," from the 1987 LP, In the Dark. But that success brought an explosion in numbers on the road, overwhelming the parking-lot scene and the dedicated pilgrims following the band from town to town. Through it all, the Dead toured as if their survival depended on it – which it always did – and played fondly remembered gigs, often off the beaten track. After a summer of amphitheater dates, the band sounds cozy here, loose and swinging indoors, especially at quicker tempos. Mydland plays a brawny organ solo, evoking the Hammond-jazz master Jimmy Smith, in the cover of the Rolling Stones hit "It's All Over Now," and the Dead bend "Uncle John's Band" into a spirited, improvising vehicle with a detour into "Playing in the Band," another great song about this way of life.

Madison Square Garden, New York
September 18th, 1987
The Dead dutifully played their hit "Touch of Grey" twice during this five-show New York run – but not tonight. They start with a wry laugh over their improbable, complicating success, plunging into "Hell in a Bucket" from In the Dark, with Weir belting the chorus line at a shredded pitch: "I may be going to hell in a bucket, babe/But at least I'm enjoying the ride." Garcia seconds that motion, turning to his 1972 solo effort, Garcia, for luxuriant readings of "Sugaree" and "Bird Song." The second set is classic contrarian Dead: urgent and unhurried with a crisp, long stroll through the durable title track from the 1978 disappointment, Shakedown Street (produced to surprisingly bland effect by Little Feat's Lowell George). The baroque drama of "Terrapin Station" is the last stop before the open waters of "Drums" and "Space"; "Good Lovin' " comes in two parts with Ritchie Valens' "La Bamba" shaking in the middle. The Dead's spell as pop stars would soon be an anomalous memory; they kept playing like it never happened.

Hampton Coliseum, Hampton, Virginia
October 9th, 1989
You didn't need an advanced degree in Dead lore to decode the name on the tickets for the two '89 shows at this 13,000-capacity arena. The group was billed as "The Warlocks," a thinly veiled attempt to avoid overcrowding and security problems. Hampton Coliseum was a favorite East Coast stop for the Dead at the time – they performed there 21 times between 1979 and 1992 – and these concerts sold out fast, mostly to local fans who got two of the band's best shows of the decade. The Dead were about to release what would turn out to be their last studio album, the ironically named Built to Last, and they played the title track in the first set on the 9th along with a Brent Mydland showcase, "We Can Run," written with Weir's composing partner, John Barlow. The second Hampton show, issued with October 8th in the 2010 box Formerly the Warlocks, is most notable for the return of "Dark Star" after five years, and in the encore, American Beauty's "Attics of My Life" – its first time out since 1972.

Nassau Coliseum, Uniondale, New York
March 29th, 1990
There was something about springtime that brought out the verve, fraternity and experiment in a Dead tour. The group's six-city, 16-date East Coast trip (with a stop in Canada) in March and April of 1990 was so strong that Weir remembered it years later as "the high point of that era. We were hot, feeling our oats and surprising ourselves onstage." Spring 1990, a multi-CD survey of the tour released last year, includes the March 30th show at Nassau Coliseum. But the 29th had a special guest: saxophonist Branford Marsalis, who slipped into the lineup for the whole second set with ease and a challenging fire. His keening phrases in "Eyes of the World" – alternating with, then dancing alongside, Garcia's teardrop runs – edge the song toward the progressive-soul temper of Marvin Gaye's "What's Going On." Marsalis also enjoys the blowing room in "Dark Star" and fires up some R&B honk and squeal for "Turn On Your Love Light." That "Eyes" came out on the 1990 live release, Without a Net. But the whole set is a gas.

Madison Square Garden, New York
September 14th, 1991
This was my next-to-last night with the Dead. There would be a solid send-off, also at the Garden, in '93. But I think of this show more often, for the good feel running through it and the rebirth that appeared to be in reach again after Brent Mydland's death in 1990. The Dead were working with two keyboard players, Vince Welnick and Bruce Hornsby; the latter's singing also added pinpoint heft to the harmonies. From this show, I particularly recall the call to disorder – the Shirley and Lee hit "Let the Good Times Roll," taken at a measured Sam Cooke-like pace with a gospel call-response finish – and the way Garcia, looking like everyone's grandfather, soloed like his much younger self in "Jack Straw." This was not a historic gig. It's a treasured piece of my connection to a band and infinitely evolving mission that seemed, at that moment, without end. Bill Graham famously said of the Dead, "They're not the best at what they do, they're the only ones that do what they do."

Monday, May 14, 2018

Charlie Miller Sources for My Shows

Of my 80 Grateful Dead concerts, there 55 Charlie Miller shows (many have more than one CM).
7 Additional shows are officially released by the GD organization and 18 have yet to get a Charlie.

I have attached a link so you can more easily move to the archive stream of the show.  For those inclined for their own, just Grab a copy.

 For a FLAC download, just go to https://www.shnflac.net/ like all self-respecting deadheads do.

1 Boston Music Hall - June 9, 1976 https://archive.org/details/gd1976-06-09.sbd.miller.95399.sbeok.flac16
2 Boston Music Hall - June 12, 1976 no Charlie but Official Release (partial)
3 Colt Park - August 2, 1976 no Charlie on Archive
4 Springfield Civic Center Arena - April 23, 1977 https://archive.org/details/gd1977-04-23.sbd.miller.88401.sbeok.flac16
5 The Palladium - April 30, 1977 no Charlie on Archive but Official Release
6 Boston Garden - May 7, 1977 https://archive.org/details/gd1977-05-07.sbd.miller.88525.flac16
7 Hartford Civic Center - May 28, 1977 no Charlie but Official Release
8 Raceway Park - September 3, 1977 https://archive.org/details/gd1980-05-11.sbd.miller.89577.sbeok.flac16
9 Cotterell Gym - November 4, 1977 no Charlie but Official Release
10 Community War Memorial - November 5, 1977 no Charlie but Official Release
11 Broome County Arena - November 6, 1977 no Charlie on Archive
12 Thompson Arena - May 5, 1978 https://archive.org/details/gd1978-05-05.sbd.miller.112180.flac16
13 Patrick Gym - May 6, 1978 no Charlie on Archive
14 Springfield Civic Center Arena - May 11, 1978 no Charlie but Official Release
15 Providence Civic Center - May 14, 1978 https://archive.org/details/gd1978-05-14.sbd.miller.108996.flac16
16 Giants Stadium - September 2, 1978 https://archive.org/details/gd1978-09-02.s2.sony54p.wagner.miller.124588.flac16
17 Boston Music Hall - November 13, 1978 no Charlie on Archive
18 Boston Music Hall - November 14, 1978 https://archive.org/details/gd1978-11-14.nak300.rolfe.miller.100205.sbeok.flac16
19 Community War Memorial - November 21, 1978 no Charlie on Archive
20 Utica Memorial Auditorium - January 14, 1979 no Charlie on Archive
21 Springfield Civic Center Arena - January 15, 1979 https://archive.org/details/gd1979-01-15.nak300.rolfe.miller.90095.sbeok.flac16
22 Veterans Memorial Coliseum - January 17, 1979 https://archive.org/details/gd1979-01-17.nak301.rolfe.miller.99009.sbeok.flac16
23 Providence Civic Center - January 18, 1979 https://archive.org/details/gd1979-01-18.nak300.rolfe.miller.100209.sbeok.flac16
24 Charlotte Coliseum - May 3, 1979 no Charlie on Archive
25 Hampton Coliseum - May 4, 1979 https://archive.org/details/gd1979-05-04.sonyecm.walker-scotton-miller.89120.flac16
26 Baltimore Civic Center - May 5, 1979 https://archive.org/details/gd1979-05-05.sbd.miller.fishmanj-repitch.78748.flac16
27 Kirby Fieldhouse - May 7, 1979 no Charlie on Archive
28 Recreation Hall - May 8, 1979 no Charlie on Archive
29 Broome County Arena - May 9, 1979 https://archive.org/details/gd1979-05-09.nak700.rolfe.miller.99027.sbeok.flac16
30 Cumberland County Civic Center - May 13, 1979 no Charlie on Archive
31 Sacramento Memorial Auditorium - June 28, 1979 no Charlie on Archive
32 Oakland Auditorium Arena - August 4, 1979 no Charlie on Archive
33 Oakland Auditorium Arena - August 5, 1979 no Charlie on Archive
34 Augusta Civic Center - September 2, 1979 https://archive.org/details/gd1979-09-02.sbd.miller.93011.sbeok.flac16
35 Cape Cod Coliseum - October 27, 1979 https://archive.org/details/gd1979-10-27.sbd.fix.miller.98561.flac16
36 Cape Cod Coliseum - October 28, 1979 https://archive.org/details/gd1979-10-28.sbd.miller.105434.flac16
37 Providence Civic Center - November 4, 1979 no Charlie on Archive
38 Cumberland County Civic Center - May 11, 1980 https://archive.org/details/gd1980-05-11.sbd.miller.89577.sbeok.flac16
39 Springfield Civic Center Arena - September 3, 1980 https://archive.org/details/gd1980-05-11.sbd.miller.89577.sbeok.flac16
40 Providence Civic Center - September 4, 1980 https://archive.org/details/gd1980-09-04.sbd.miller.95497.sbeok.flac16
41 State Fairgrounds - September 6, 1980 https://archive.org/details/gd1980-09-06.fob.nak700.rolfe.miller.93782.sbeok.flac16
42 Oakland Auditorium Arena - December 26, 1980 https://archive.org/details/gd1980-12-26.nak300.walker-scotton.miller.89260.sbeok.flac16
43 Oakland Auditorium Arena - December 27, 1980 https://archive.org/details/gd1980-12-27.nak300.walker-scotton.miller.89269.sbeok.flac16
44 Oakland Auditorium Arena - December 28, 1980 https://archive.org/details/gd1980-12-28.nak700.wagner.miller.107792.flac16
45 Oakland Auditorium Arena - December 30, 1980 https://archive.org/details/gd1980-12-30.senn421-walker.scotton-miller.90468.sbeok.flac16
46 Oakland Auditorium Arena - December 31, 1980 https://archive.org/details/gd1980-12-31.nak700.wagner.miller.107822.flac16
47 Warfield Theater - May 22, 1981 https://archive.org/details/gd1981-05-22.nak300.walker.scotton.miller.95938.sbeok.flac16
48 Greek Theatre - September 11, 1981 https://archive.org/details/gd1981-09-11.fob.nak300.walker.scotton.miller.95743.sbeok.flac16
49 Greek Theatre - September 12, 1981 https://archive.org/details/gd1981-09-12.nak700.wagner.miller.105584.flac16
50 Greek Theatre - September 13, 1981 https://archive.org/details/gd1981-09-13.sbd.miller.32576.sbeok.flac16
51 Fiesta Hall - December 12, 1981 no Charlie on Archive
52 Oakland Auditorium Arena - December 26, 1981 https://archive.org/details/gd1981-12-26.sbd.miller.84265.sbeok.flac16
53 Oakland Auditorium Arena - December 27, 1981 https://archive.org/details/gd1981-12-27.sbd.gans.33568.sbeok.flac16
54 Oakland Auditorium Arena - December 28, 1981 https://archive.org/details/gd1981-12-28.sbd.walker-scotton.miller.96304.sbeok.flac16
55 Oakland Auditorium Arena - December 30, 1981 https://archive.org/details/gd1981-12-30.sbd.miller.117246.flac16
56 Oakland Auditorium Arena - December 31, 1981 https://archive.org/details/gd1981-12-31.sbd.fix.walker-scotton.miller.96106.sbeok.flac16
57 Warfield Theater - February 16, 1982 no Charlie on Archive
58 Warfield Theater - February 17, 1982 https://archive.org/details/gd1982-02-17.sbd.miller.112408.flac16
59 Greek Theatre - May 21, 1982 https://archive.org/details/gd1982-05-21.sbd.fix.miller.96330.sbeok.flac16
60 Greek Theatre - May 22, 1982 https://archive.org/details/gd1982-05-22.nak700.wagner.miller.109335.flac16
61 Greek Theatre - May 23, 1982 https://archive.org/details/gd1982-05-23.sbd.miller.96332.sbeok.flac16
62 Oakland Auditorium Arena - December 30, 1982 https://archive.org/details/gd1982-12-30.set2.sbd.miller.95955.sbeok.flac16
63 Oakland Auditorium Arena - December 31, 1982 https://archive.org/details/gd1982-12-31.sbd.miller.77301.sbeok.flac16
64 Greek Theatre - May 13, 1983 https://archive.org/details/gd1983-05-13.fob.sonyecm220t.keshavan.miller.fix.94514.sbeok.flac16
65 Marin County Veterans Auditorium - October 31, 1983 no Charlie on Archive
66 San Francisco Civic Auditorium - December 30, 1983 https://archive.org/details/gd1983-12-30.sbd.walker-scotton.miller.32513.sbeok.flac16
67 San Francisco Civic Auditorium - December 31, 1983 https://archive.org/details/gd1983-12-31.sbd.walker-scotton.miller.32514.sbeok.flac16
68 Greek Theatre - July 15, 1984 https://archive.org/details/gd1984-07-15.sbd.walker-scotton.miller.96152.sbeok.flac16
69 Berkeley Community Theatre - October 31, 1984 https://archive.org/details/gd1984-10-31.sbd.walker-scotton.miller.106798.flac16
70 San Francisco Civic Auditorium - December 31, 1984 https://archive.org/details/gd1984-12-31.fm.menke.miller.32347.sbeok.flac16
71 Greek Theatre - June 14, 1985 https://archive.org/details/gd1985-06-14.sbd.miller.117028.flac16
72 Greek Theatre - June 15, 1985 https://archive.org/details/gd1985-06-15.sbd.walker-scotton.miller.96317.sbeok.flac16
73 Greek Theatre - June 16, 1985 https://archive.org/details/gd1985-06-16.sbd-pcm.miller.79021.sbeok.flac16
74 Oakland Coliseum Arena - December 31, 1985 https://archive.org/details/gd1985-12-31.sbd.miller.78054.sbeok.flac16
75 Berkeley Community Theatre - April 21, 1986 https://archive.org/details/gd1986-04-21.sbd.miller.34765.flac16
76 Greek Theatre - June 20, 1986 https://archive.org/details/gd1986-06-20.sbd.walker-scotton.miller.81645.flac16
77 Greek Theatre - June 22, 1986 https://archive.org/details/gd1986-06-22.sbd.walker-scotton.miller.81646.flac16
78 Frost Amphitheatre - May 2, 1987 https://archive.org/details/gd1987-05-02.sbd.walker-scotton.miller.83737.sbeok.flac16
79 Oakland Coliseum Stadium - July 24, 1987 no Charlie but Official Release
80 Los Angeles Sports Arena - December 16, 1994 no Charlie on Archive
If more than one CM source; I have attached the most downloaded

Saturday, May 12, 2018

Bootlegs

Some of Mine (some quasi)  Ive given some away like to Ed Hill




















Some of The Other Ones