If they were to give a free one-off as their very final gig (in a park, for instance), I suspect it might have become one of the rock concerts with highest attendance ever. GD were and are an institution in basically all they represent (musically, historically, culturally etc.) - something which arguably couldn't even be said of The Rolling Stones anymore.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Re: Mickey Hart
Except for 1971-1974, when he wasn't in the band.Originally Posted by Spiral
The reason the Dead's large fanbase didn't quite translate to big record sales is because a lot of fans buy into the "the Dead's studio albums stink" logic. That's not completely true, if you ask me, there's lots of good things on most of their studio albums. The first album and Go To Heaven one could do without, but all the others have their moments.
And while they don't have the kind of record sales that say Pink Floyd have, several of their albums have gone platinum over the years. In The Dark is the only one that did so quickly (the result of Clive Davis finally getting out of the band's way and also MTV putting Touch Of Grey into heavy rotation). Workingman's Dead, American Beauty, and Skullfuck all eventually went platinum, but it took more than a decade for each of them to achieve that goal. So there were definitely buying the records, even if it was a relatively smaller number compared to other arena and stadium bands.
That was more than 10 years ago. I remember when I saw The Other Ones in 2003, I gave a short speech during the show (I heard he did it every night) encouraging everyone to fill out their organ donor cards.
As far as the "hanging out and partying" thing being a major part of the Dead concert experience, I would say that's absolutely on the money. That's why they were able to put on some many mediocre concerts circa 1980-1995 and get away it. I remember David Gans saying one time that he noticed at some point in the 80's that the audiences seemed to be into it, no matter how bad the band played. I think he said it was as if the gesture of simply coming onstage was enough for a lot of fans.
Isn't "Surviving Dead" members an oxymoron?
"Donor Rap"- Lesh still does it every show just prior to the encore.
"Henry Cow always wanted to push itself, so sometimes we would write music that we couldn't actually play – I found that very encouraging." - Lindsay Cooper, 1998
"I have nothing to do with Endless River. Phew! This is not rocket science people, get a grip." - Roger Waters, 2014
"I'm a collector. And I've always just seemed to collect personalities." - David Bowie, 1973
Once Pigpen died, that was it for me.
Already 350,000 ticket requests in pre-orders via snail mail alone.
http://www.latimes.com/entertainment...128-story.html
^ Yes, I made note of this a few days ago.
"Henry Cow always wanted to push itself, so sometimes we would write music that we couldn't actually play – I found that very encouraging." - Lindsay Cooper, 1998
"I have nothing to do with Endless River. Phew! This is not rocket science people, get a grip." - Roger Waters, 2014
"I'm a collector. And I've always just seemed to collect personalities." - David Bowie, 1973
It would be nice if they brought out Tom Constanten to play keys on a song or two.
My bad. Missed your update.
I could NOT be without "Cream Puff Wars" or "Viola Lee Blues" (from the s/t) myself, but I could live without Steal Your Face, which I find to be their weakest official live album by far. If anything, they made a handful of truly uneven studio albums - still even here there were goodies to be had, enough to warrant owning the record.
As for the general quality of their studio output, I think Anthem..., Workingman's and Allah were among the greatest US rock albums of their time.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Funny, I was disappointed with Blues for Allah. I'd been spoiled by at least one live version of each of the songs before ever hearing the studio album, so it always sounded a bit anemic.
Steal Your Face was indeed a terrible record, marred by a variety of bad decisions. It's bizarre to me to think that album and The Grateful Dead Movie (and it's associated soundtrack release) were derived from the same five night Winterland run in October 1974. The Grateful Dead Movie to me is one of the essential documents of the Dead, but Steal Your Face is the exact opposite.
Truthfully, as far as the live albums that were released at the time they were recorded (ie not counting the archival things that have come out in the last 25 or so years), Live/Dead and Europe '72 are the only ones I'd keep. I think the various archival releases and the bootlegs better represent the eras during which the other live albums came from.
But my comment about the first album and Go To Heaven being the only albums I could do without was referring to the studio albums, so Steal Your Face wasn't even being considered as part of that thought process. To be truthful, the first album has Cream Puff War and Golden Road (To Unlimited Devotion) and that's about it. But beyond that, there's not much there. The studio version of Viola Lee Blues is ok, but it was much better onstage. In general, though, the first Dead album sounds to me like a band not really sure what it's going to be. You've got a hodgepodge of blues and folk music covers, a couple rock n roll numbers, and one big jam number. They obviously hadn't developed their songwriting abilities yet (note the number of cover tunes present) and I'm not sure if they had made up their minds whether they wanted to be a more blues oriented band, or a folk oriented band, or if they figured out the psychedelic thing, or what.
I think by Anthem Of The Sun, they had their dren much more together, or at least it sounds that way to my ears. According to David Hassinger, the producer Warners assigned to work on the first two Dead albums, says they were too self indulgent in the studio and spent too much time experimenting with no clear idea of what they wanted. But I think the results are much better than the first album,and it seems like they had figured out they were going to have come up with their own songs and that they were definitely going to be a psychedelic band rather than the...whatever you want to call what they were doing on the first record.
I would toss Aoxomoxoa (well, except What Becomes Of The Baby), American Beauty (which I've always liked better than Workingman's Dead), Live/Dead (except for side four), and Europe '72 in there as well.
Well, yes - although I actually enjoy "What Becomes..." and absolutely the Live/Dead side 4 (although I'd easily live without half of "Lovelight"). But I was thinking of studio albums exclusively. Europe '72 has some great stuff, but also a bit too much of the 'Skullfuck upcomings' (i.e. the roots covers bonanza thing they'd do). I love the Glastonbury "Dark Star" (from the same tour), though.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
FROM THE GRATEFUL DEAD TICKET OFFICE
IMPORTANT ALERT CONCERNING JULY 3,4 & 5 CHICAGO CONCERTS
Dear Deadhead,
As in days of the past, we have had an overwhelming demand for tickets, and, regrettably, have not been able to fill your order.
We have, though, cashed your money order and used the money to buy pizza and running shoes. It's what Garcia would have wanted.
This isn't the end for you, though. A large assortment of VIP packages is available. Or, you could just blow Parish. That always got you in th show in the old days.
There is also the chance that more seats may become available: we are turning the entire floor into GA, and, as doing that can only lead to every jackass in the stands leaping down onto the field, we are thinking about selling each lower deck seat twice, maybe three times.
The seats behind the stage may also be made available, but only if everyone promises not to look at Bobby's bald spot.
Sincerely,
GDSTOO
"It is the mark of an educated mind to be able to entertain a thought without accepting it."
-- Aristotle
Nostalgia, you know, ain't what it used to be. Furthermore, they tells me, it never was.
“A Man Who Does Not Read Has No Appreciable Advantage Over the Man Who Cannot Read” - Mark Twain
Turns out that arena was way too small, idn't it?
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
CID (VIP) packages start at over $500 per day.
I'll watch the inevitable webcasts.
Seriously fuck that shit. I'll hang out in the parking lot and stream the show.
Just for the record, teh "Glastonbury Dark Star" wasn't played at Glastonbury. In fact, the Dead didn't play Glastonbury. That particular track came from a show at the Empire Pool, either the first or second show of the Europe '72 tour (one night they did Dark Star, the other they did The Other One, but I can't remember which is which, without checking the setlists). The full Empire Pool Dark Star can be heard on Stepping Out With The Grateful Dead, which is a four comp of the highlights from the UK shows on that tour. And of course it's on the complete Europe '72 tour boxset, if you've got the cash to buy it.
I know. That's why I wrote "from the same tour" [as E '72].
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
That would be 4/8/72 which is IMNSHO the best Dark Star ever. Rivaled by the excellent 8/27/72 version (officially released a year or two ago) but one is the ying to the other's yang...4/8/72 is exploratory yet remains pretty melodic throughout while 8/27/72 veers into more atonal territory and is a more jarring listen. Both are essential Dark Stars in a live Dead library but if I had only one to take with me to a desert island it would be the Steppin' Out 4/8/72 version. Philadelphia 9/21/72 (released on Dick's Pick's #36 IIRC) rounds out my top 3.
Daily jazz vinyl reviews on Instagram @jazzandcoffee
**SOLD OUT**
http://www.billboard.com/articles/ne...ially-sold-out
3 day passes on Ebay going for 10 Grand (so far, another day of bidding on this pair.)-
http://www.ebay.com/itm/2-GA-tickets...item25a12d97df
Wow.
www.dead50.com :
Thank you to all of the Deadheads for the amazing support that you have shown for the Fare Thee Well shows in Chicago! This morning you broke Ticketmaster’s on-sale record when nearly half a million of you queued up to buy tickets online. If you do not have tickets, please know that we are working on various ways to help everyone experience these shows in a way that will help you share this special moment with us. Stay tuned, and thank you for showing your love, we feel it!
"Henry Cow always wanted to push itself, so sometimes we would write music that we couldn't actually play – I found that very encouraging." - Lindsay Cooper, 1998
"I have nothing to do with Endless River. Phew! This is not rocket science people, get a grip." - Roger Waters, 2014
"I'm a collector. And I've always just seemed to collect personalities." - David Bowie, 1973
Winning bid:
US $11,300
C'mon you Deadheads, charge your credit cards.
Time to buy 3-days worth of hippy nostalgia...
I remember when Diana Ross presented NYC with her "gift" of a free show in the 80's in Central Park
The results were not pretty!
BG
"When Yes appeared on stage, it was like, the gods appearing from the heavens, deigning to play in front of the people."
Posting Permissions
Reply With Quote
Bookmarks