Wrong Impressions of The Grateful Dead

[Joe F.]

Is this the Big Set for the year?

God. I hope so.

My wallet needs a break.

[Mister Triscuits]

I dunno...the big walletbuster always comes out in the fall. Maybe this year it's going to be two not-quite-so-massive sets, like in 2013 when they put out May 1977 in the spring and followed with Sunshine Daydream in the fall.

[Joe F.]

I dunno...the big walletbuster always comes out in the fall. Maybe this year it's going to be two not-quite-so-massive sets, like in 2013 when they put out May 1977 in the spring and followed with Sunshine Daydream in the fall.

That's what I was thinking.

[JKL2000]

^^ My set arrived today, and it's damned nice looking! High fondleability.

#2,316 of only 15,000!

I have to read up on the set, but it's a little suprising that out of, what is it, 5 or 6 shows, two are three disks each, and the rest are only two disks each.

[GuitarGeek]

Listening to 1/26/69 Avalon Ballroom. This is an interesting show because it's one of the few instances of them performing Clementine, an unreleased song that nobody even knew about or remembered (or at least it was never talked about) until Dick Latvala found a couple shows with them playing in his Vault excavations. It also has a great That's It For The Other One (though something goes weird with Jerry's vocal mic early on in the song). The Dark Star/St. Stephen/The Eleven suite is pretty good here too.

[GuitarGeek]

Listening to Can's Soon Over Babaluma, and the track Splash seems to have a similar groove to the first part of King Solomon's Marbles:




I can't make up my mind if it's just incidental or not. According to Wikipedia, Soon Over Babaluma was recorded in August of 74, and released in Europe that November, with the US release happening sometime in 75. The Dead had been playing the King Solomon's Marbles riff at the end of Eyes Of The World on a regular basis since February 73, though the initial arrangement is a good deal different from what's heard in the version on Blues For Allah (as heard above).

So the question is who (if anybody) influenced who, and how? We know Phil Lesh spent sometime hanging out with Magma during the Europe '72 tour, so maybe he also spent time with Can? Perhaps he made arrangements for the band to hear some live tapes at some point in 73 or 74, and they adapted that riff into Splash. Then, perhaps, Phil heard Splash and said "Ooh, I like what they did with that, we should adapt that back into our version". Who knows? (shrug) But it is an interesting note.

[Reid]