Wednesday, February 13, 2019

20th Anniversary Rag, A Robert Hunter Tune You Never Heard

Here is the Grateful Dead 1985 Twenty Years Handbill Flyer Poster with art by Rick Griffin and words by Robert Hunter.

My copy below still looks good!

I got this walking into the Greek on Sunday June 16, 1985.  Jerry celebrated the occasion by playing the first Cryptical Envelopment since 1972.

My copy just scanned:

Tuesday, February 12, 2019

Day After the Dead Blow Away Cleveland: More Mellow in Rochester November 21 1978

In November 1978, I had to keep leaving Maine to go to shows, two in Boston on the 13-14, heading down to Providence for the long drive out to Rochester ( remember the long ride with Rick Sullivan and John from Providence in the cold and the snow) and then a few days later coming to New Haven for the cancelled show.`Best show I heard all month was the 11-24 show on the radio.

This was certainly not as good as the 1977 version, but there was an outstanding Deal and great local coverage in the Rochester D&C.

Friday, February 8, 2019

Dick Latvala Introduces The Philo Stomp (Substituting for David Gans), October 28, 1972

This show, as with many late 1972 shows, is famous, especially among Dark Star and dead jam folks.
You can see by the vast number of links. Start with the music download

What's so fun is the 20 year old introduction of the Dark Star by Dick Latvala, who apparently had hijacked David Gan's Grateful Dead Hour. OK, I'd like Dick do this too.

Then read Light Into Ashes

Then some more reading on 1972 Dark Stars

Awesome 10-27-79 Review

This is an amazing review I saw today

1979 was an interesting and transformative year for the Grateful Dead as they bid adieu to Keith and Donna Godchaux and welcomed Brent Mydland as their new keyboardist and vocalist. I was fortunate to attend both Keith and Donna Jean’s last show (Oakland Coliseum Arena 2/17/79) and Brent’s first one (Spartan Stadium, 4/22/79), as well as the Grateful Dead’s official inauguration of the Oakland Auditorium (later renamed the Henry J. Kaiser Auditorium) as the new Winterland. Even though it’s been 37 years, it still feels like only yesterday. I remember the different keyboard tone when Brent was playing electric piano (my friends called it a “tinker toy” sound – and sometimes it seemed to be more superficial and lacking the depth and exploration of Keith’s playing) – and how amazing the Hammond B-3 organ sounded. I also remember how the band seemed more polished, professional – even slick – almost a showbiz feel – and thinking after the 8/5/79 show that the Grateful Dead had gone from an organic collective musical entity to the Grateful Dead Road Show. It also felt more like a boy’s club rather than the family feeling that Donna Jean brought. I mean no offense to the Grateful Dead – it was just the flash that hit me that night.
As a lot of you know, this is one of the most famous shows from the Fall ’79 tour – largely due to the huge Dancing in the Street > Franklin’s Tower medley and the Caution-esque jam between He’s Gone and The Other One. Indeed, this has been on people’s short list for an official release ever since the Dead started digging into the vault 25 years ago. Also of note, the first set has a very generous 11 songs – something we always appreciated back then. I will say the pre-drums is both high energy and adventuresome. They were really stretching and taking chances – something that would change in 1980 as they tightened things up in order to better integrate Brent in the band.
Some thoughts about the band’s sound. The Meyer sound system is excellent – very clear, great stereo separation and definition and presence (I saw a remnant of it at a club in Eureka, CA a few years back – still sounding amazing!). Phil’s bass is resonant and chunky. Weir is well articulated, and with Donna Jean gone, he has stepped up his game and moving more to a rock star persona. Overall this is the best sound they’ve had since 1974. As far as Jerry goes, he seems to have slipped a little bit more into opiate addiction and is starting to mix up verses, get lines wrong and mumble a bit. This largely went unnoticed at the time because all eyes were on Brent (the “new guy”). But there are hints of where this would take the band in the next few years.
Well, enough inside baseball talk. Let’s listen to some Grateful Dead from the Cape Cod Coliseum, South Yarmouth, MA – October 27, 1979.
JACK STRAW – Good opener – one of their best. It’s clear and resonant, with good fidelity and stereo separation – excellent audio quality. The difference in the new Meyer sound system is clearly audible. Keyboard and vocal difference immediately obvious – plinky plink piano – high Michael McDonald-esque harmonies. Fat solid Phil – dropping bombs from the start. Jerry playing the jam high, light and fast – almost like the froth on a cappuccino – fast, but not digging in. Big crunchy Phil bomb coming back into the vocals. They leave a minute of tuning and background band chatter on the disc before the next song.
CANDYMAN – Great follow-up to Jack Straw, keeping the mood in the Wild West. They usually play this later in the set, and not often. It’s a rare treat, and its placement in this slow tells me they are in a good mood. Jerry plays a lovely, poignant jewely solo – but voice is wavering a bit – a little fainter than the year before – not growling out the “blow you straight to hell” line (but he does bark out “Won’t you tell everybody you meet that the Candyman’s in town”).
ME & MY UNCLE > BIG RIVER – Since this coupling became standard in 1978, I’m going to treat it as a single piece. We stay in the Southwest with Uncle. It has a different sound with Brent on electric piano - he’s very present and clear – playing non-stop. Jerry seems to fade in and out just the tiniest bit – playing fast and yet a little bit distant. Uncle as usual is tight and fun. The transition to Big River comes off without a hitch. Phil’s on the money, but a bit soft, as is Jerry. It’s like Jerry’s playing around the perimeter of the song – subtle, almost inaudible at times. Jerry’s first solo is again a bit distant and quiet. He’s cruising just fine, but sounds like he’s somewhat lost in his own thoughts. Brent’s solo is okay – but it takes me back to when I first saw him in 1979 and wasn’t exactly fond of his piano tone. After Bob heads down to Baton Rouge, he spaces for a second and thinks the song’s over and tries a second chorus line before remembering where he was. Jerry’s second solo is rather distant – not sure if it’s his amp or he’s just turned way down. Ahhh, and halfway through he gets dialed in, playing a nice sharp solo finally cutting a swath in the fabric of the song.
BROWN-EYED WOMEN – I love this song! It fits perfectly into the feeling of the previous four tunes. Not a whole lot to say except the band is dialed in and playing both solid and spry. Jerry’s guitar is happening – clearly audible and on – and his vocals are strong. Excellent version!
EASY TO LOVE YOU – And now for something completely different. After five sonic Norman Rockwell portraits, we shift to the first new original of the Brent era: a late 70’s, keyboard-dominated pop music with a tune that sounds like it would have fit in perfectly well with Michael McDonald. Over time, it grew on me. But initially I – and most of my friends – was like, “ Whaaaaa?”. Having said that, on the plus side it is a pretty tune (as opposed to a wrist-slashing buzz kill like, say, “Far From Me”), with some very sweet vocals. When it ends I find myself involuntarily waiting for the band to swing into Don’t Ease Me In, like on Go To Heaven.
MINGLEWOOD BLUES – From pop music to Bobby blues rock & roll. They altered Minglewood a bit since Brent came on board. Two things immediately stand out: 1) the almost tribal Native American backbeat; and, 2) the keyboard switch from piano to organ. Brent really shines on the Hammond B-3 (which, IMO, was his real strength and true genius). It reminds me of how nice the Hammond sounded with Pigpen. Halfway through Brent’s solo the recording flips from the soundboard to an audio patch – flipping back to the soundboard just before he’s done. Bobby comes in with his work in progress (he had a somewhat lengthy learning curve on stage) slide guitar solo. Just as Jerry’s hitting his final burning solo, Bobby decides to go into the final verses. Nice finale with a couple good size bass bombs. All in all, quite good.
STAGGER LEE – Nice follow up to Minglewood – and another western tale of bad choices and hot lead – it’s a pretty good version, though Jerry sounds just a wee bit distant at times, with his voice cracking a bit. Garcia plays a really nice solo – more thoughtful and detached than cutting. But he comes back in for the final verses with his vocals dialed in and singing stronger than in the beginning. Jerry steps it up a notch in his final refrains of “Look out Stagger Lee”, singing stronger then going for another buzzing guitar solo. The band finally comes together for a nice crunching and Phil bomb-laden finale. Nice!
LOST SAILOR > Finally we come to Bobby’s newest tunes – a coupling that Garcia once called Weather Report Suite put through a blender wink emoticon. I caught the debut of Lost Sailor in Oakland the previous August and immediately liked it. There was/is something about that seafaring vibe that is transportive, and a bit romantic. And the band manages to paint an almost holographic sonic portrait where I can feel the ship rocking back and forth, and the breeze blowing across the deck and filling its sails. I love how it gradually builds up, like the waves crashing against the deck pitching the boat back and forth, before finally hitting escape velocity and sailing into.
SAINT OF CIRCUMSTANCE > This is another song I liked from the start – and always preferred coupled with Sailor (as opposed to being played from a dead stop as they did in later years). It felt more complete that way. It’s got cool lyrics, nice danceable backbeat that compels you to get on your feet and dance. Phil really helps, practically carpet-bombing the crowd with his bass. I remember living in Cotati, California when they debuted these tunes, bicycling around singing “I sure don’t know what I’m going for; but I’m going to go for it, for sure” at the top of my lungs. Oh, and for what it’s worth, this is a great version – while still in its embryonic stage (lacking some of the vocal flourishes and extended middle “rain falling down” solo), this is rock solid and very impressive. As the final notes reverberate, Jerry launches into
DEAL – And we’re back to gambling in the wild west to finish things up – a very nice way to end a first set. The band is firing on all cylinders. Brent is cranking up the B-3, Phil’s playing fat and Jerry’s burning up the strings. They go for a major “Don’t you let that deal go down!” rave up. Brent’s high harmonies are sounding really good, and band playing large. This is an excellent way to wrap things up and have the crowd anticipating more.
DANCING IN THE STREET > The Dead hit the ground running with this upgraded disco version of Dancing in the Street. I’ve gotta say, Brent’s synth work here sounds really good. This is another tune where the skills he brings to the table really shine. They jam the hell out of this – giving it a space age synth groove. No individual musician really stands out here – it’s just a great collective space/disco/funk groove. Then, at the 11-minute mark, Phil starts taking it low and dropping fat bombs. He’s really digging this new sound system. I remember how it sounded back then – at the Oakland Auditorium gigs on August 4 & 5, Phil was hitting sub-sonic notes I had rarely heard him play. He was shaking the auditorium. The same thing is happening here too. They come back in for the reentry licks and nail the landing. And then they’re off to the races with . . .
FRANKLIN’S TOWER – Jerry’s in good spirits, playing his butt off, fingers flying up and down the neck of his guitar. Bob’s rhythm accents are clear as a bell and sounding wonderful. Phil’s bouncing along, keeping the rhythm buoyant. I must say that as bouncy and fun as this version is, it doesn’t seem to be going on a journey anywhere– it seems like they’re just having fun bouncing ‘round the room. They just keep playing and playing – until finally they hit the last verse, play some more and go for a final 60-second flourish – and they’re done. Pause to tune and then launch into the next serious jam.
HE’S GONE > After the Franklin’s frenzy it’s time for a nice calm cool down with He’s Gone. This song benefits from Brent’s high harmonies, and his piano is pretty good. Again, the excellent production and stereo separation readily apparent – Weir’s accents clear on the left, Brent’s electric piano on the right – they seem to be patiently proceeding, laying the foundation for what is to come. Jerry reverses the “9 mile skidding” verse. Phil is fat and crunchy, and Jerry plays a clear, resonant solo. Excellent vocals on final chorus. Jerry does his little descending scale for the outro, and then takes them on a nice wandering journey for a few minutes before catching the scent of a big jam and darts off after it.
CAUTION JAM > Jerry goes into overdrive, hitting Caution velocity. It’s not really a true Caution jam – more a chaotic, Caution-esque frenzy, almost like the wheels are spinning off the wagon as it’s going a thousand miles an hour. This goes on for a couple of minutes, and then they get that Other One bug and pivot in that direction.
THE OTHER ONE > Phil’s playing deep and low, really driving this one, Jerry’s ripping scorching leads and Mickey is following Christopher Walken’s advice and digging into the cowbell. Bob takes the vocals, Jerry playing hot behind him – then it’s into the solo. They rage at first, then jerry pares it down to playing a traveling lead on top of spare drums and keyboards. Then Phil drops another megaton and drives them back into the second verse. On the “Coming Around” chorus (about the seven minute mark) it flips to an audience patch and stays there for about a minute before going back the soundboard and a crescendo of bass blasts, synthesize bombs and tracers (quite similar to that insane pre-drums jam on 8/4/79). Then it’s Rhythm Devils time.
DRUMS > Billy and Mickey dive right into the drums, with Phil hanging out for a bit playing off of Hart and Kreutzman. Then he leaves the stage so our favorite drumming duo can to do their thing. They initially start on their trap kits and knock out the rhythm there for a while, before Mickey takes on the Beast (the circle of giant hanging drums – the one big percussion change from 1978), beating out low, almost sub-sonic frequencies (it’s always fun hearing them do this indoors so they can make the walls breathe). As a note, the drums section has been pared down from 15+ minutes in 1978 to a few minutes by the fall of 1979. After a few minutes Jerry comes back out and starts playing the Bo Diddley riff.
NOT FADE AWAY > They start at a medium tempo – methodically building the foundation of the song. After the first verse Jerry takes off and burns up the strings against the rest of the band’s medium tempo NFA beat. They come back into the second verse – and the whole band rages – Jerry fanning his heart out and the band crashing around him. Then Garcia starts moving out into solo land. At the 7 minute mark, Jerry hits a really cool lick and works it for a couple of minutes before winding it down and bringing us to Black Peter.
BLACK PETER > This is a very nice, deep, soulful version. Jerry plays an excellent fuzz guitar solo and Brent’s Hammond permeates the sound – giving it more depth and almost funereal gravitas. The “See here how everything leads up to this day” bridge is huge – they really deliver on this one. And the final “run and see” rave up, while not as insane as some, is still very good. Definitely a step up from 1978 (where the song almost became a dire dirge). Excellent version!
AROUND & AROUND – Pretty standard – except, again, for the B-3 – it really takes the tune up a notch (and Brent’s piano tone on this one sounds more like a real piano). With Donna gone, Bob really throws himself into the vocals, making it a balls out rock & roller. They’re hurtling down the straightaway, Brent leaning on the B-3, the drummers crashing like whitewater rapids on boulders. Coming into the final vocals, Bob does the soft falsetto singing by himself – Brent opting not to replicate Donna’s part and instead letting his organ do the talking. This may be why they dumped the double time ending by the end of the year, replacing it with Johnny B. Goode or another rocker. They give it a nice hall-shaking, pounding finish – and that’s it.
ONE MORE SATURDAY NIGHT – Here’s another standard given new life with the Hammond B-3. They make this a huge screaming encore, putting a fat exclamation point on an excellent show. Easily the best in quite some time.
All in all, this is a very fine show with a few weak spots (Jerry just starting to fade) and a lot of high ones. There’s a reason this has been on Deadheads’ short list for decades. I’m glad they finally released it. Thanks, guys!
Next up: Lakeland, Florida – November 28, 1980
© Michael Turner 2016

Thursday, February 7, 2019

My Super 8 of Berkeley Greek May 21or22, 1982 before Show Outside

Two seconds of this are in Long Strange Trip

Awesome 1990 Article on David Gans, No Mere Deadhead

Look up in the sky! It's a bird! It's a plane! It's no mere Deadhead, its David Gans.
Sometimes research takes you to true and fun places .  Click to read the  article from Philadelphia
Inquirer 9-10-90

Hendrix Played Lewiston Too

It wasn't just the Dead in 1980, but Jim Hendrix played Lewiston, Maine on March 16, 1968
I was nine, I lived just down the street

377 College St
Lewiston, ME 04240

Head southwest on College St toward Pettingill St
469 ft

Turn left at the 2nd cross street onto Russell St
0.3 mi

Turn right at the 2nd cross street onto Central Ave
 Destination will be on the left
0.4 mi

Where Hendrix played
65 Central Ave, Lewiston, ME 04240

Good thing I grew up and saw Lewiston.  Driving to the show with Phil Lesh, I said "Look Phil there's my house".

03-03-11, 10:20 AM
Sunday, March 16th, 1968

no recording has surfaced

Audience Recollections

On March 16, 1968, Jimi Hendrix played at The Lewiston Armory in Lewiston, Maine, and delivered a performance unlike any other the city has ever seen. Surprisingly, these were the only public details available. That is, until I decided to do a little research. Using the local newspaper the "Sun Journal", I was able to track down a handful of people who attended the 1968 concert to learn about their perspective of the historic event & try to piece together the details of that damp March evening in Lewiston. Though the different people I’ve talked to remembered different things about the show, everyone in attendance agrees it was quite the "experience".

Everyone I talked to also agreed that the concert was extremely loud. That’s no surprise, as The Jimi Hendrix Experience was known for cranking their amplifiers and leaving the audience with their ears ringing. Sue Landry from Auburn expressed this fact to me with the most clarity. She was also kind enough to provide me with a copy of the original advertisement for the show from the local newspaper. Landry, who was in 8th grade at the time of the show, said that her father could hear the concert a half mile away on the way to pick her up. She also remembers that there was an incredible light show to dazzle the packed venue.

Roger Caslong of New Glouster also had a good time - perhaps too much of a good time. Though he can’t remember much, he remembers the essential details. Aside from the extreme loudness of the show, he remembers the mountains of amplifiers piled up behind the band, how cheap the tickets were, and he also recalls Hendrix destroying his guitar at the end of the show. According to Caslong, Hendrix also played the guitar with his teeth & behind his back in front of a crowd of standing room only.

The show at The Armory was Diane Leblond’s first concert. She was 16 at the time. Other than smelling the heavy aroma of marijuana, she remembers that the crowd "thoroughly enjoyed the performance", and that Hendrix demolished his guitar at the end of the show. She also noted that the song "Purple Haze" was the highlight of the set.

David Bernier was a senior in high school when he saw Hendrix in Lewiston. Calling it an "unforgettable experience", Bernier remembers Hendrix playing the guitar behind his head & with his teeth and tongue. He also clearly remembers feeling Noel Redding’s bass pulsating through his body. Bernier noted that the police at the show got nervous when the crowd chanted "Fire", unaware that it was the title of a Hendrix song. According to Bernier, Hendrix not only played "Fire", but many other songs from the album Are You Experience?, as well as "You Got Me Floatin’" and "Wait Until Tomorrow" off of the recently released Axis: Bold As Love album. Since The Experience never performed those two songs in concert, it’s very unlikely that they were played in Lewiston. I’m guessing he got the Axis songs confused with "Spanish Castle Magic", a song of the album that was frequently played around this timeframe. Bernier added that the band ended the show with a cover of The Trogg’s "Wild Thing". Hendrix ruled out the possibility of an encore by dousing his guitar with lighter fluid and setting it ablaze.

Ted St. Pierre of Bethel remembers Hendrix arriving late to The Armory. He heard that Jimi possibly crashed his Jaguar while driving to the show. St. Pierre, who was 16 at the time, claims that he "PA system was a joke", that it was "just a couple of Fender cabinets". St. Pierre also remembers that there were no empty seats for The Experience’s 45 minutes to an hour performance.

Along with remarking on the cheap ticket prices, Brian from Minot talked about the "wall" of amplifiers stacked behind the group, as well as Hendrix’s showmanship: "It was a wall of amps over 6 feet tall, and to see Jimi play behind his back is something I’ll never forget." Brian recalled that Hendrix played mostly songs off the Are You Experienced? album, though he remembers hearing "the greatest ‘Star Spangled Banner’" he’d ever heard. That would be unlikely, as Hendrix didn’t begin playing the National Anthem until some time later.

Penelope Poor best described Hendrix in her own words: "He seemed so young, very skinny, and was dressed the way you always see him, very colorful." Poor said that Hendrix was very well received by the audience.

I received a nameless e-mail from someone who attended the show, and they had this to say: "Jimi held his guitar strings in front of a strobe light and then dangled them over the crowd, then dropped them individually into the crowd. He lit his guitar on fire & stamped on it!"

I talked to a man named Kris Milo about the Hendrix show. Though he didn’t attend the concert, he knew a man that not only went to the show, but also took photos of Hendrix’s performance. Sadly, Paul Langelier passed away unexpectedly 5 or 6 years ago, and the photos were auctioned off. Unfortunately, I haven’t been able to find any trace of the photographs.

Perhaps the most intriguing perspective of the show is from Rich Hagar. Hagar played rhythm guitar for one of the opening bans at the show, Hanseatic League. The college band landed the gig because the bassist was one of the promoters for the show. Hagar recalls that Hendrix was originally signed to play the show for $1500. The promoters expected about 4,000 people at the most, but 7,000 people actually showed up, which is almost double of what The Armory is built to hold. Hagar knew it was to be a loud set from Hendrix when he saw three 24-foot U-Haul trucks pull up, all holding amplifiers and instruments. Both Hendrix and Redding used 3 Marshall amplifiers with Sound City heads. Hagar, like Ted St. Pierre, also heard the story about Hendrix crashing his Jaguar on the way to the show, so perhaps there’s some truth behind the tale. Hagar got to sit on the side of the stage during Hendrix’s set. He remembers Jimi coming onto the stage alone and starting the show alone. After soloing for a few minutes, he was joined by Mitch Mitchell on the drums for a rendition of Howlin’ Wolf’s "Killing Floor". Hagar then went on to say, that "not to be off-color, but at one point, Hendrix turned away from the audience, achieved an erection, and proceeded to play the guitar with it." Hagar, who is currently a college professor in New Jersey, got to chat with Hendrix & Redding at the concert. Redding was very talkative, where as Hendrix was more quiet and reserved.

The show at The Armory was Hendrix’s only show in Maine. The Armory has hosted other musical acts, including Chuck Berry, Jerry Lee Lewis, Foghat, and Queen, but it’s safe to say that Lewiston has never before "experienced" a performance quite like the one delivered by The Jimi Hendrix Experience on March 16, 1968.
04-09-11, 01:00 PM
Wow cool stories. I would not rule out the possibility of the 2 Axis songs noted by the one fan above actually being played. There are only 2 known Little Miss Lover's and Up From The Skies was played very infrequently. In that Jan/Feb 1968 time frame seems to be when an aud might have gotten lucky and heard some songs off of Axis besides just Spanish Castle Magic or Little Wing.
05-25-12, 07:07 AM
09-27-15, 03:25 PM
Saturday 16 March 1968.
Lewiston Armory, Bates College, 73 Central Avenue, ME, USA. JHE
JHE probably flew back to New York from Portland ME (45 mins in car from Lewiston) after gig. No gigs next 2 days
Neville: “Went out to airport to pick up Marshall amplifier.”
Gary Earle (vox,kybs, Hanseatic League): “[Noel Redding didn’t arrive for the afternoon sound check, but Hendrix and Mitch Mitchell played anyway.] They were, and remain to this day, the best two-piece band I ever heard in my life.”
Concert at 20:00.
Support: The Hanseatic League; Terry And The Telstars.
Promoter: Lewiston students
Fee: $1,500

Songs remembered:

Killing Floor
[You Got Me Floatin’!? - highly unlikely;)]
[Wait Until Tomorrow!!? – even less likely;)]
Purple Haze
[Star Spangled Banner - yet more pish]
Wild Thing

Neville Chesters: “Good show, shitty place.”

Bates Student (20 March) review by Andrew Tolman: “The Jimi Hendrix Experience was as powerful as had been expected and quite a bit more talented... He proceeded to ruin his equipment and do strange things to his guitar... Despite the fact that he was forced to repair his amp after every number, for which he apologized profusely and happily, the array of sounds produced was amazing. In addition to this, his voice when it could be heard, was better than the Monterey reviews implied, and both he and his Oxford-English speaking bassist were very courteous to the audience... His intense volume coupled with the very real talent for the guitar produced the best psychedelic performance Lewiston has recently seen.”

Mark Horton (bass, Hanseatic League): “[With support from dormmates, I booked Hendrix for $1,500. The League and another local band, Terry & the Telstars, opened for Hendrix.] We were all kind of nervous. I wouldn’t say it was one of our finest performances. [Gary] Earle flubbed the intro to our first song, Booker T. and the MG’s ‘Hip-Hug Her,’ but we redeemed ourselves by the closer, Cream’s arrangement of Skip James’ ‘I’m So Glad’.
Although Hendrix was distracted by equipment problems,] I was riveted.”

Rich Hagar [rhythm guitar, Hanseatic League]: “[We landed the gig because our bassist was one of the promoters for the show. Hendrix was originally signed to play the show for $1500. The promoters expected about 4,000 people at the most, but 7,000 people actually showed up, which is almost double of what The Armory is built to hold.
I knew it was to be a loud set from Hendrix when I saw three 24-foot U-Haul trucks pull up, all holding amplifiers and instruments Both Hendrix and Redding used 3 Marshall amplifiers with Sound City heads. I heard Hendrix was late because he crashed his Jaguar on the way to the show [He didn’t have a Jaguar and he didn’t drive to gigs. Ed.]. I got to sit on the side of the stage during Hendrix’s set. Jimi came onto the stage alone and starting the show alone. After soloing for a few minutes, he was joined by Mitch Mitchell on the drums for Howlin’ Wolf’s "Killing Floor".] Not to be off-color, but [I’ll just plumb the depths of pervsion here, eh? Ed.] at one point, Hendrix turned away from the audience, achieved an erection, and proceeded to play the guitar with it. [this arsehole takes 1st prize for bullshit - a total wanker. Ed.] I got to chat with Hendrix & Redding at the concert. Redding was very talkative, where as Hendrix was more quiet and reserved.]”

Sue Landry [from Auburn]: “Roger Caslong [from New Gloucester]: “[I had a good time - perhaps too much of a good time, I can’t remember much. Aside from the extreme loudness of the show, I remember the mountains of amplifiers piled up behind the band [I][wild exagerration. Ed.], how cheap the tickets were, and Hendrix destroying his guitar at the end of the show. Hendrix also played the guitar with his teeth & behind his back in front of a standing room only crowd.]”

Diane Leblond: “ thoroughly enjoyed the performance, [and Hendrix demolished his guitar at the end of the show. ‘Purple Haze’ was the highlight of the set.]”

David Bernier: “[I was a senior in high school at the time. It was an] unforgettable experience, [I remember Hendrix playing the guitar behind his head and with his teeth and tongue. I also clearly remember feeling Noel Redding’s bass pulsating through my body. The police at the show got nervous when the crowd chanted ‘Fire’, unaware that it was the title of a Hendrix song. Hendrix not only played ‘Fire’, but many other songs from the album Are You Experienced, as well as ‘You Got Me Floatin’ and "Wait Until Tomorrow" off the recently released [I]Axis: Bold As Love album [surely a mistake for Little Wing & Spanish Castle Magic, or some other? Jimi never played those songs live. Ed.]. The band ended the show with The Troggs’ ‘Wild Thing’. Hendrix doused his guitar with lighter fluid and set it ablaze. [more bullshit;) Ed.]

Ted St. Pierre: “He didn’t even have a car at this point never mind a Jaguar and he didn’t drive to gigs. Ed.).] The PA system was a joke, it was just a couple of Fender cabinets [more bullshit. Ed.]. [There were no empty seats and they played for between 45 minutes to an hour.]”

‘Brian’ [from Minot]: “[The tickets were cheap.] There was a wall of amps over six feet tall, and to see Jimi play behind his back is something I’ll never forget. [Hendrix played mostly songs off the Are You Experienced album, but I heard] the greatest ‘Star Spangled Banner’ I’d ever heard.” [not! Ed.]

Penelope Poor: “He seemed so young, very skinny, and was dressed the way you always see him, very colorful. [He was very well received by the audience.]”

Jimi Hendrix 1968

Michael LydonNew York Times, The, March 1968
"WILL HE BURN it tonight?" asked a neat blonde of her boyfriend, squashed in beside her on the packed floor of the Fillmore auditorium. "He did at Monterey," the boyfriend said, recalling the Pop Festival at which the guitarist, in a moment of elation, actually put a match to his guitar. The blonde and her boyfriend went on watching the stage, crammed with huge silver-fronted Fender amps, a double drum set, and whispering stage hands. Mitch Mitchell, the drummer, came on first, sat down, smiled, and adjusted his cymbals. Then came bassist Noel Redding, gold glasses glinting on his fair delicate face, and plugged into his amp.
"There he is," said the blonde, and yes, said the applause, there he was, Jimi Hendrix, a cigarette slouched in his mouth, dressed in tight black pants draped with a silver belt, and a pale rainbow shirt half hidden by a black leather vest.
"Dig this, baby," he mumbled into the mike. His left hand swung high over his frizz-bouffant hair making a shadow on the exploding sun lightshow, then down onto his guitar and the Jimi Hendrix Experience roared into 'Red House'. It was the first night of the group’s second American tour. During the first tour, last summer, they were almost unknown. But this time two LP’s and eight months of legend preceded them.
The crowds in San Francisco – Hendrix’s three February nights there were the biggest in the Fillmore’s history – were drooling for Hendrix in the flesh. They got him. This time he didn’t burn his guitar ("I was feeling mild") but, with the blatantly erotic arrogance that is his trademark, he gave them what they wanted.
He played all the favorites, 'Purple Haze', 'Foxy Lady', 'Let Me Stand Next to Your Fire' and 'The Wind Cries Mary'. He played flicking his gleaming white Stratocaster between his legs and propelling it out of his groin with a nimble grind of his hips. Bending his head over the strings, he plucked them with his teeth as if eating them, occasionally pulling away to take deep breaths. Falling back and lying almost prone, he pumped the guitar neck as it stood high on his belly.
He made sound by swinging the guitar before him and just tapping the body. He played with no hands at all, letting the wah-wah pedal bend and break the noise into madly distorted melodic lines. And all at top volume, the bass and drums building a wall of black noise heard as much by pressure on the eyeballs as with the ears.
The black Elvis? He is that in England. In America James Brown is, but only for Negroes; could Hendrix become that for American whites? The title, rich in potential imagery, is a mantle waiting to be bestowed. Within his wildness, Hendrix plays on the audience’s reaction to his sexual violence with an ironic and even gentle humor. The D.A.R. sensed what he is up to: they managed to block one appearance with the Monkees last summer, because he was too "erotic." But if Jimi knows about his erotic appeal, he won’t admit it.
"Man, it’s the music, that’s what comes first," he said, taking a quick swig of Johnnie Walker Black in his motel room. "People who put down our performance, they’re people who can’t use their eyes and ears at the same time. They’ve got a button on their shoulder blades that keeps only one working at a time. Look, man, we might play sometimes just standing there; sometimes we do the whole diabolical bit when we’re in the studio and there’s nobody to watch. It’s how we feel. How we feel and getting the music out, that’s all. As soon as people understand that, the better."
The Jimi Hendrix Experience, now doing a two month tour, was formed in October, 1966, just weeks after Hendrix came to London from Greenwich Village encouraged by former Animal Chas Chandler. Mitchell, 21, came from Georgie Fame’s band, a top English rhythm and blues group, and 22-year-old Redding switched to bass from guitar which he had played with several small time bands. Their first job, after only a few weeks of rehearsal, was at the Paris Olympia on a bill with Johnny Hallyday.
Their first record, 'Hey Joe', got to number four on the English charts; a tour of England and steady dates at in London clubs, plus a follow-up hit with 'Purple Haze', made them the hottest name around. Men’s hairdressers started featuring the "Experience style". Paul McCartney got them invited to the Monterey Pop Festival and they were a smash hit.
But Jimi Hendrix, born James Marshall Hendrix 22 years ago in Seattle, Washington, goes a lot futher back. Now hip rock’s enfant terrible, he quit high school for the paratroopers at 16 ("Anybody could be in the army, I had to do it special, but, man, I was bored"). Musically he came up the black route, learning guitar to Muddy Waters records on his back porch, playing in Negro clubs in Nashville, begging his way onto Harlem bandstands, and touring for two years in the bands of rhythm and blues headliners: the Isley Brothers, Little Richard, and King Curtis. He even played the Fillmore once, but that was backing Ike and Tina Turner before the Haight-Ashbury scene.
"I always wanted more than that," he said. "I had these dreams that something was gonna happen, seeing the numbers 1966 in my sleep, so I was just passing time till then. I wanted my own scene, making my music, not playing the same riffs. Like once with Little Richard, me and another guy got fancy shirts ‘cause we were tired of wearing the uniform. Richard called a meeting. ‘I am Little Richard, I am Little Richard,’ he said, ‘the King, the King of Rock and Rhythm. I am the only one allowed to be pretty. Take off those shirts.’ Man, it was all like that. Bad pay, lousy living, and getting burned."
Early in 1966 he finally got to Greenwich Village where, as Jimmy James, he played the Cafe Wha? with his own hastily formed group, the Blue Flames. It was his break and the bridge to today’s Hendrix. He started to write songs – he has written hundreds – and play what he calls his "rock-blues-funky-freak" sound.
"Dylan really turned me on – not the words or his guitar, but as a way to get myself together. A cat like that can do it to you. Race, that was okay. In the Village, people were more friendly than in Harlem where it’s all cold and mean. Your own people hurt you more. Anyway, I had always wanted a more integrated sound. Top-Forty stuff is all out of gospel, so they try to get everybody up and clapping, shouting, ‘yeah, yeah.’ We don’t want everybody up. They should just sit there and dig it. And they must dig it, or we wouldn’t be here."
A John Wayne movie played silently on the television set in the stale and disordered room, and Hendrix started alternating slugs of scotch and Courvoisier. He stopped and turned toward the window, looking out over San Francisco. "This looks like Brussels, all built on hills. Beautiful. But no city I’ve ever seen is as pretty as Seattle, all that water and mountains. I couldn’t live there, but it was beautiful."
Besides his music, Hendrix doesn’t do much. He wants to retire young and buy a lot of motels and real estate with his money. Sometimes he thinks of producing records or going to the Juilliard School of Music to learn theory and composition. In London he lives with his manager, but plans to buy a house in a mews. In his spare time he reads Isaac Asimov’s science fiction. His musical favorites as he listed them are Charlie Mingus, Roland Kirk, Bach, Muddy Waters, Bukka White, Albert Collins, Albert King, and Elmore James.
"Where do you stop? There are so many, oh, man, so many more, all good. Sound, and being good, that’s important. Like we’re trying to find out what we really dig. We got plans for a play-type scene with people moving on stage and everything pertaining to the song and every song a story. We’ll keep moving. It get’s tiring doing the same thing, coming out and saying, ‘Now we’ll play this song,’ and ‘Now we’ll play that one.’ People take us strange ways, but I don’t care how they take us. Man, we’ll be moving. ‘Cause man, in this life, you gotta do what you want, you gotta let your mind and fancy flow, flow, flow free."
© Michael Lydon, 1968

Day After the Dead: April 30, 1971 Emerson Lake and Palmer play the Fillmore East

So the day after the classic Grateful Dead closing of the Fillmore East, Emerson, Lake and Palmer played the Fillmore. It's was their 7th American concert.

I never really listened to them, but a few weeks ago, I heard three back-to-back-to-back Greg Lake ballads and they are quite sweet. RIP Greg, December 2016

So here they are:
Still You Turn Me On
From the Beginning
Lucky Man

Wednesday, February 6, 2019

Four from Cormac at the Greek: Original Photos Exclusive to US

A Great Discussion on The Grateful Dead and Reviews

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Poster: Cliff Hucker Date: Jan 25, 2010 10:00am
Forum: GratefulDead Subject: Re: overated rocks
I think all of these Red Rocks shows are highly overated!

Its classic 80's Dead Head exuberance; you were there, the scene was fun, so of course the music had to be great...

In this case the venue has aquired a mythical mystique to it, but an ampitheatre carved out of a beautiful Rocky Mountain box canyon doesnt = great jamming!

Just because you were tripping your brains out during a purple sunset or while lightning was flashing in the distance doesnt make the music excellent!

Look at the reviews for these shows, all five stars, for every review, even for the shows there during the mid-eighties. And some of these are real stinkers too!

The truth is that most of these Red Rock performances are 3 star shows. None of them can hold a candle to even an average performance from 1972, and with the exception of one or two, they are not even among the best from the 80's.

I shlepped out there for three shows in '84, and while I enjoyed the scene, the music certainly wasnt memorable...

Just my opinion, but what the fuck do I know?

This post was modified by Cliff Hucker on 2010-01-25 18:00:29
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Poster: skuzzlebutt Date: Jan 25, 2010 6:21pm
Forum: GratefulDead Subject: Re: overated rocks
While I enjoy Wise's audience recordings of the '82 run just because I like good audience recordings, I would have to admit that if I was going to pick 50 shows for the proverbial desert island, 7/8/78 would be the only Red Rocks show even in the running.
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Poster: utopian Date: Jan 25, 2010 7:04pm
Forum: GratefulDead Subject: Re: overated rocks
Ah yes,
back to thread topic- redrocks
78 is tops on my list too
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Poster: johnnyonthespot Date: Jan 25, 2010 1:23pm
Forum: GratefulDead Subject: Re: overated rocks
Hey Cliff> I agree with you that these shwos are over rated. In fact I think the venue is over rated. Unless you're in the first 20 rows you just get farther and farter back so what you gain in scenery you lose big time in intimacy. I find the Greek to be a way superior venue.

Now, while I DO agree with you I gotta ask - Jesus man, do you EVER have a good f-ing time at a show ever?
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Poster: William Tell Date: Jan 25, 2010 1:29pm
Forum: GratefulDead Subject: Re: overated rocks
Now Johnny, I real gotta agree with you about this one:

"...farter back..."

The idea that I would have been farter back behind SDH at one of these Red Rock shows REALLY brings into focus how lucky I was to stop when I did...
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Poster: bluedevil Date: Jan 25, 2010 1:47pm
Forum: GratefulDead Subject: Re: overated rocks
and your shoes remained vomit free.

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Poster: cosmic charlie dupree Date: Jan 25, 2010 2:06pm
Forum: GratefulDead Subject: Re: overated rocks
Thanks for giving me my first chuckle-chortle of the day.
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Poster: Cliff Hucker Date: Jan 25, 2010 5:25pm
Forum: GratefulDead Subject: Re: overated rocks
" you EVER have a good f-ing time at a show ever?"

At the time, I enjoyed most of the Grateful Dead shows that I attended!

It's just that now, with very few exceptions, I cant bring myself to listen to any of them...
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Poster: gphishmon Date: Jan 26, 2010 6:44pm
Forum: GratefulDead Subject: Re: overated rocks
I gotta agree, Cliff. They did get better in 1989-91, though, in my opinion, and some of those shows (particularly 10/26/89, 3/29/90, 7/2/90, and 9/20/90 - i.e., the ones with a full-fledged Dark Star) hold their own against most shows even from 68-74. But very little from 78-88 probably deserves even 4 stars (a few worth noting are 5/12/80, 3/5/81, 5/16/81, 9/26/81, 12/31/81, 4/6/82, 4/17/83, 10/15/83, and 7/13/84). On the other hand, if you want to hear Shakedown, Feel Like a Stranger, Victim, Foolish, etc., you gotta go to 78 and later (Terrapin Station was the last Great-ful album IMHO), and I think some songs got better in the 80's (Shakedown, Estimated, Stranger, Terrapin, Uncle John's, Birdsong, and Let It Grow). Also, while Space could often be a bore-fest, there were some exceptional ones (4/6/82 and 4/17/83 are my favorites).
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Poster: bluedevil Date: Jan 25, 2010 10:03am
Forum: GratefulDead Subject: Re: overated rocks
I was there in '84 as well, had a blast, but can't immediately recall any tune that was distinctive other than a sloppy, albeit first, Mr. Fantasy and the second US Blues (wave it high). That said, I loved seeing shows at Red Rocks and the Greek for outdoor venues. I may have seen a better show in '83 at Hartford, but Hartford sucks as a place to spend time (hey TITO!). And no, I don't want my money back from any of those shows.
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Poster: clashcity Date: Jan 25, 2010 10:13am
Forum: GratefulDead Subject: Re: overated rocks
Not a fair comparison at all - 80's to '72.

I do think its kind of nutty that one would more often choose the 80's over anything from the wheel house that is 68-74.

But I am not so delusional to judge everything that came after unlistenable...

Everyone is entitled to their opinion I suppose.
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Poster: groovernut Date: Jan 25, 2010 10:27am
Forum: GratefulDead Subject: Re: overated rocks
Not sure folks are claiming it's unlistanable , just that the reviews are misleading... and that the show's in the 80's don't stack up to the quality I hear in the 60's and 70's. Back in the 80's and 90's when I was actively going to shows I did not know the music as well as I do toady. If I had not gone to the shows in the 80's and 90's chances are I would have NEVER listen to as many 60's and 70's shows.... so go figure... but I now love the early stuff (that I did not understand back then!)
Before you rate that show that you went to, try to listen to some of the gems on this site... then after you have explored the 3 decades you can post a realistic review. You can post stories and experiences with out rating you know.... they do add flavor.
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Poster: William Tell Date: Jan 25, 2010 11:55am
Forum: GratefulDead Subject: Re: overated rocks
Nicely put, groover.

I am struck by how well folks recall so many of their shows (unlike me, assume some took notes on set lists? Or, listened to them enough here or elsewhere to get the songs "down").

I only recall a few of the songs from my top shows (like those of 75 I often mention), but I haven't listened to them for yrs and yrs (well, I have sampled 6-17 & 9-28 from 75, but not the entire shows). I did ALWAYS recall the great CFing & Peg-O from the first, and the Truc/NFA/OMSN from the latter, but that was about it...

I am sorry to say (sad, eh Grendel?) I can't recall the Oct 78 shows or Jul Orph 76 shows at all, except for the unrecognizable StSt at the latter, and the INAM (very energetic! Crowd pleaser!) at the former...

Again, this wasn't because I wasn't happy with them, I just didn't do any real "analysis" (seems so contrary to what I spend ALL my time doing now!) as to whether they were good, bad, or great...I always left feeling they'd been what I expected even if I'd taken someone that hadn't gotten it, and whenever I happened upon tapes later, they only confirmed that feeling, BUT I put no real thought into it...

It was only when I arrived here and really listened to pre 72 that I really thought "Whoa! I never heard this kind of energy! This kind of joy and excitment while playing!" and it sorta confirmed a nagging feeling I'd had all along.

So, I think my point is that I always suspected I wasn't seeing "GREAT!!!" shows, but I had no basis for that position at the time (so little early era stuff was available; my circle of HEADs just didn't have the tapes we hear about from old farts here like GoP and such) and I never would have been able to say "Aug, 79 with Brent just SUCKED in comparison to last Oct, 78, with Keith"...I would have characterized them as largely similar with only subtle reasons behind why I did think Jun and Sep 75 were somehow better by a bit than the others I saw.

There, and you thought science and God could bring out the nonsensical in me...

WTF, Dire!? Have you been off recovering with Brady or some such? Long time my friend, long time...

This post was modified by William Tell on 2010-01-25 19:55:42
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Poster: Cliff Hucker Date: Jan 25, 2010 12:59pm
Forum: GratefulDead Subject: Re: overated rocks
My gripe is with all the five-star reviews. How the hell can shows from the mid 90's possibly warrant five stars?

Personally, I think a three-star show is still a good performance, with four stars being very good, and five exceptional. This is partly the reason I use a 100 point scale to rate shows, with a three-star show scoring in the low nineties.

If shows like 2/28/69, 4/28/71, 9/21/72, and 5/8/77 are bonafide five-star performances, how could shows like 6/14/84 or 9/7/85 deserve the same rating?

This post was modified by Cliff Hucker on 2010-01-25 20:59:42
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Poster: lobster12 Date: Jan 25, 2010 5:14pm
Forum: GratefulDead Subject: Re: overated rocks
I think you have answered your own question by applying the wine rating system to shows. Only fair way to breakdown 5 star gigs.
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Poster: grendelschoice Date: Jan 25, 2010 12:19pm
Forum: GratefulDead Subject: Re: overated rocks
Agree on the may 5-stars given for what objectively are often 3 or at best 4 star shows...maybe having the "half" option would help...we'd probably see a lot more 4 1/2 star ratings than 5-stars and same down the line...which would be more accurate.
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Poster: bluedevil Date: Jan 25, 2010 12:42pm
Forum: GratefulDead Subject: Re: overated rocks
Note that most of the recent Dead and Further shows also get 5 stars. I've long since given up on stars for any indication as to how a show sounds and/or was played. I rely on folks like Cliff, LIA, Dr. Flashback, and others for pointing me in the right direction. Since Tell only points me to two shows, I pretty much tune him out.
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Poster: johnnyonthespot Date: Jan 25, 2010 1:12pm
Forum: GratefulDead Subject: Re: overated rocks
Hey BD, what do you want to bet that there might be DSO shows that get higher ratings than the orignal Dead show?

Agreed, stars don't mean much to me either. Never an indicator for me. I've been around enough to know and be able to readily list the most legendary shows then after that I have my opinions on which years I think were their best. Even with that criteria I can get enjoyment from ALMOST any year if the conditions are right : )

" Since Tell only points me to two shows, I pretty much tune him out. "

AWESOME man. Too funny! 9-19-79 anyone?
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Poster: William Tell Date: Jan 25, 2010 1:22pm
Forum: GratefulDead Subject: Re: overated rocks meets simple math...
Oh yeah, a couple of smart asses that can't count...there ain't no other way around it but for the fact that the number is perhaps twice, THRICE that measely amt. Why, even Rob can recount (get it?) that 6-14, 10-12 AND 12-29 get regular mention for 68, and if 4-5-69 doesn't have my mtn of the moon face all over it, it must be Arb's...throw in 6-7-70, 9-19-70, and of course...say it with me: "8-6 H2H!" (see? no yr necessary!) brings us to a whopping half dozen shows to keep track of...or may four score minus three score and smidge or two; how about 11 fumbles and INTs?

Manageable for my pea brain, but still a far cry from TWO you half wits...jeezzz, and hey, GROK buddy--I hope milk isn't coming out of your nose!
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Poster: TOOTMO Date: Jan 25, 2010 2:17pm
Forum: GratefulDead Subject: Re: overated rocks
What we need are reviews of the reviewer. Or, perhaps, someone could devise a test for the reviewers and those that pass could get some sort of seal of approval. Then, when you read a review and you see that a reviewer is either kosher or not kosher and you know how much weight to give their opinions.
But what questions should be asked?

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Poster: bluedevil Date: Jan 25, 2010 2:38pm
Forum: GratefulDead Subject: Re: overated rocks
I've never known the answer to the answer, man. (misplaced comma?).

Ask JOTS for his opinon of jboyguar's reviews.
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Poster: TOOTMO Date: Jan 25, 2010 2:41pm
Forum: GratefulDead Subject: Re: overated rocks
Kind of funny that you should bring up the j-word, in light of this confession:

Now what do you have to say for yourself, BD?
I'm sure you'll say you were just kiddin' but isn't the root of all humour sprouted in a peatpot of truth?

Go to hell, Carolina, go to hell.

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Poster: bluedevil Date: Jan 25, 2010 3:34pm
Forum: GratefulDead Subject: Re: overated rocks
Damn, busted! (or was I?)

But I'll make sure my new reviews of DSO are less glowing.

GTH, UNC, GTH ... INDEED! (Looks like they are headed there this year...)
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Poster: lobster12 Date: Jan 25, 2010 5:16pm
Forum: GratefulDead Subject: Re: overated rocks
This just in...another 3 star review from J-boy. he's the judge equivalent to Wolfman jack on dance fever.
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Poster: SomeDarkHollow Date: Jan 25, 2010 10:37am
Forum: GratefulDead Subject: Re: overated rocks
"Everyone is entitled to their opinion..."

Them's fightin' words. We all know that all opinions must first be cleared through proper channels and then your mind will be made up for you, regardless.

Different strokes for different folks.

Easy on the strokes Dire, it's only Monday.
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Poster: direwolf0701 Date: Jan 25, 2010 11:09am
Forum: GratefulDead Subject: Re: overated rocks
we all know mine are strokes of genius (and they only get better as the week moves along)

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Poster: direwolf0701 Date: Jan 25, 2010 9:30am
Forum: GratefulDead Subject: Re: overated rocks
gotta agree with your sentiment there Cliff. Other than the extremely excellent 7/8/78 show, I dont see what is so great about Red Rock shows versus many other venues. Certainly many shows they performed in that dump called MSG where consistently superior.

then again, I would love to head out there with my camera equipment for some nice shots - certainly more scenic than the city that never sleeps :)
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Poster: groovernut Date: Jan 25, 2010 9:58am
Forum: GratefulDead Subject: Re: overated rocks
True. Whatever magic folks describe is not present on most recordings... that makes me wonder, if red rocks is the most over rated venue, what is the most under rated?

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Poster: Cliff Hucker Date: Jan 25, 2010 11:02am
Forum: GratefulDead Subject: Re: most under rated venue?
"...if red rocks is the most over rated venue, what is the most under rated?"

Good question!

I nominate the Boston Music Hall...

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Poster: groovernut Date: Jan 25, 2010 11:16am
Forum: GratefulDead Subject: Re: most under rated venue?
Nice thanks for the list.... got some listing to do now.