Nice! tyQuote:
Originally Posted by Peruvian
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Nice! tyQuote:
Originally Posted by Peruvian
15th anniversary show in Boulder. How many Heinekens deep is Phil?
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Can’t play the beacon shows from 76 enough - 6/14-6/15 crisp.
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Too much of anything is just enough
Any guesses on Jerry’s age in this pic?
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137. Just like in all the photos ever taken of him.Quote:
Originally Posted by Peruvian
Been listening to those shows what a pair!
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Grateful TED?
https://www.youtube.com/watch?v=yOLdBA5ulxI
Just found these. Forgot we saved them. He died too soon. https://uploads.tapatalk-cdn.com/202...9a105951e7.jpg
Bobby was playing the Casino that night. My town was a pretty crazy scene.
Apparently Vince wasn't much of a Deadhead before joining the band.
https://www.youtube.com/watch?v=BfLzXhYHreg
https://livemusicblog.com/news/vince...mmits-suicide/Quote:
Originally Posted by Peruvian
/ An unofficial spokesman at the Welnick home said, “It looks like he took his own life.” But that is not known for sure, he said. “The family is very grieved, and trying to figure it all out.”
Vince never got over the cruel way that the Grateful Dead band members treated him after Jerry died. He never got over the sorrow of losing Jerry, facing his own demons without his friend and could not understand how the remaining fellow band-members treated him like s*** the past several years.
I cannot possibly describe to you the hurt and anguish he felt when “The Dead” decided to have a “Family Reunion of the SURVIVING MEMBERS” of Grateful Dead, a band that he was no mere sideman for its last five years, but a full member of by order of Jerry Garcia. How damned insulting was it to have a “surviving members family reunion” and not invite your new brother? He was the proverbial red-headed step-child to them. Did it occur to you how that hurt him, Bill, Bob, Phil, Mickey? The truth is that you selfish bastards did not care if it hurt him. He’s a big boy, he just had to get over it, right?
From Relix…
Welnick was not without his demons. In 2003, the keyboard told Relix/Jambands.com, “I tried to off myself in the RatDog bus in ‘95, right before Christmas, right after The Dead died. I pretty much hit bottom there and I’m sure that hasn’t helped my popularity with Bobby. I think that shook him up so much, and the other members of the band so much, that it contributed to why I am no longer being called to participate.” /
So the rumor I always heard was, deep in depression, he climbed the hill in his back yard and basically took his life with a samurai sword to the neck.
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This article suggests that Vince's auditions weren't exactly thorough and that he and his wife were so full of drama that the remaining members didn't want to deal with it.
Let's face it, they had already been through that with Keith & Donna.
Funny to be remembering Vince on Brent’s day… 7/26/90… RIP
People often ask me what my favorite GD years or “sound” is. They then are shocked when I say 89-90. After Jerry had made his return from the coma. Brent on keys. Something about the fullness of the sound and the band had finally come into its full potential. IMHO. Without a Net is one of my favorite albums and something I would encourage someone who is just getting into the band to listen too. The late 60’s is limited and mostly blues. The early 70’s was thin in sound with the lack of Mickey Hart. The late 70’s is some good stuff. Minus Donna! The early eighties… meh.. there is some gems in there however. Now in the end it’s the Grateful Dead, I will love it all. But that run of fall 89 through summer of 90 is red hot to me!Quote:
Originally Posted by singlecross
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Yeah - Brent’s initial rehearsals didn’t involve any Mel Torme bullshit.Quote:
Originally Posted by singlecross
https://www.jambase.com/article/bren...1979-rehearsal
Good read, thx. The part about the Dead not tolerating the particular brand of crazy Welnick was exhibiting was interesting.Quote:
Originally Posted by Peruvian
Yeah makes me curious. I always figured because of all the “Love” and acceptance. One wigging out on a bad trip and having a breakdown would be met with comfort and help. Maybe it was. But now I wonder if there had to be a certain “manliness” about handling your drugs. I know this is a bit different than dealing with manic depression. But again, the bit about there being certain lines you do not cross. I just figured there were no lines. Just love! But hey, every social circle has its limits.Quote:
Originally Posted by Angle Parking
Even the lot scene on tour and the idea of it being open and love for everyone to do and express as they please with welcome acceptance was true and much broader than normal society. However, even there, towards the 90’s there were clicks and norms about how you act and whether you were core enough. There was everyone and then there was a tighter circle of the Wookie and “inner breed” of head. There were lines of acceptance and rules of social norm. It can’t be helped. It happens in all groups. Right or wrong.
I guess basically my point being that in the end whether the bands circle or the broader fan base, it wasn’t exactly an open free for all as we would like to imagine. There were still codes of conduct that maybe didn’t always lend to being open and loving.
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They should have pushed hard in 1990 to steal Page from Phish, guy fills both spots, killer player and very good voice. 1990 was just before Phish was gaining traction, sometimes I think about what could have been.
But then again, I caught two Phish shows this month, both great shows and I can’t even imagine this band without him, he adds so much to whole soundscape. Love Page!
GD was big enough to have players come to them. Phish was still a bar band in ‘90 and it’s probable that no one in the Dead org had even heard of them at that point.Quote:
Originally Posted by buttahflake
Yeah, for sure, I wonder if it ever crossed Page’s mind to go talk to them in 1990? Guy is so freaking good, his keyboard setup is so sick!
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yeah but in 1990 he had only an electric piano and an electric organ.
True again! I need to put the bong down!
I was never a hall spinner, but of all the vids, this brings back memories of being on tour more clearly than most.
https://www.youtube.com/watch?v=837nFUwxFgM
Spent my time in the hallways, Providence had the best ones, carpeted hallways and they also had small speakers set up out there which was nuts! The people working concessions got paid to watch a full-on hippie blowout.
Def a spinner - winning
Don’t sleep on this day in history 82 - poignant given all the keyboardist discussion- Brent’s earning keep.
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I wasn't really a spinner but spent a majority of my time in the hallways, especially the venues that had speakers out there (Oakland Coliseum and Hampton come to mind).
+1Quote:
Originally Posted by Labcabin
Definitely biased.
I’m enjoying my roll thru 78-84. I listened to 85-90 in a row before this. Figure it’ll take me a bit and I’ll go back and do 69-77 after
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Happy 80th Jerry… I miss you.
[emoji106][emoji106]Quote:
Originally Posted by singlecross
Magic is what we do. Music is how we do it. - Jerry Garcia
https://www.youtube.com/watch?v=-Wx4yVmZv-c
HBD, JG.
Went to a Melvin Seals show Sunday night, Jerry Bday party of sorts. That band is tour tight right now, Help > Slip > Shakedown did not disappoint
John Mayer on Jerry Garcia:
"I’m a good enough guitar player to know a great guitarist when I hear one, but I had to become an even better one to begin to understand the depth and complexity of Jerry Garcia’s playing.
I’ve always said that musicians play like they are, and in the case of Garcia, his performances serve as a detailed map of a man, his intentions, his desires, and his impressions of the world around him. And going by that map, Garcia was a lovely, mighty soul. I never met him, and will never understand the loss of those who did, but the vast archive of his music amounts to the makings of a starry night sky that turns listeners into explorers.
Several years ago I set out not just to learn Garcia’s approach to the guitar and the songs he played, but to learn what about it has allowed millions of people who don’t play the guitar to key into it for hours on end. Soloing has been known since its inception as a kind of self-indulgent expression. Why, then, could so many listeners, myself included, listen to him do it endlessly without fatigue?
To best understand what makes Garcia’s guitar playing so unique, it helps to start with what it sidesteps: though it drew from blues and R&B, his guitar approach left a few traditional elements out of the equation, he didn’t play from that well-worn feral, sexual place that traditional blues music traded in, nor did he really touch the sinister aspects that were born into the idiom. Garcia didn’t sing about wanting to rock a young woman all night long, and any of his deals with the devil existed metaphorically as mere setbacks. (What’s 20 bucks, anyway?) These changes affect the fundamental color palette of the storytelling. I’m not sure the sun ever rises in Chicago blues music, but in the musical storytelling of Garcia and the Grateful Dead, it shines so bright it hurts.
On a more technical note, he played most often in a major blues scale, which added to this mix of innocence, and even joy. Minor blues notes lend themselves to the exquisiteness of pain, while major blues scales kind of explore the relief from it. Garcia played to relieve people of pain. That melodic innocence must have something to do with bringing so many people to their “happy place.” He wasn’t pulling notes from an anguished place within, he was catching them with a butterfly net as they went flitting by overhead. On a tactile level, he held the guitar with grace. It wasn’t a weapon, it was a vehicle. He took it easy. He may have played fast, but he was thinking slow. And that makes us listen with a smile.
I put Jerry Garcia on the same level as Miles Davis and Bill Evans because of the intention in his performing; once you’ve learned all the notes, and the chords, and the bends and the runs, you come to the final frontier of playing which is the why of it all, and that’s where the power was and still is in his playing. He played from a real place, a place that faced out to the world, not for his own reception or gratification. He played for the joy of interacting with the band and with the music he loved. If you listen close enough to a musician, you can tell what they’re looking to get out of each and every note they make. Garcia, to me, was looking to bring music to life out of the tacit, sacred duty to use his gift. Even after learning these things, they offer very little help in sounding anything like the man. That’s because he didn’t play anything stock or repetitive. There are no “signature Jerry Garcia solo riffs” as exist with so many revered guitarists. To “sound like Jerry,” you have to make people feel like he did, and well—good luck with that.
The real magic—the kind that will make the Grateful Dead music live forever—that’s in the way we carry it on in our hearts and minds. I don’t listen to Garcia and the band play—I watch it. I believe we all do, and that what we see is a blend of the music, the year in which it was played, the season and location of the show so as to understand the state of mind the band was in that night, that week, that presidency. We see it differently from one another the way we do our own dreams, but we all agree that our dreams contain these songs, and this band, those places and names. And that’s how the Grateful Dead managed to freeze time. We discuss our favorite years in present tense; we say we just heard the best version of something last night as if that was the moment it first took place. Your favorite year of their music "wasn’t", it "is." And in that way, inside that beautiful dreamscape the band created, the Grateful Dead is still up there, still playing. And Jerry is right there in front of them, and time is held in place by those who refuse to let it fade, and even as we sleep, as long as one of us is listening, the band is still playing.
We lose the ones we love, we pine for those who have left, and we lament the changes of modern times. But the makers of this music dug a tunnel, and it runs beneath time and space, and we, the ones who love it like family, crawl through to visit 1974, and 1969, and 1987 and 1990. If we were alive at the time the show took place, we see ourselves as the people we were in the lives we had, and if we weren’t born yet, we get to wistfully dream what it must have been like.
We only get a few minutes on earth, and Jerry Garcia gave all his minutes so that we could forever visit his life and times through his playing, and let it unravel into a new kind of now."
--- John Mayer on Jerry Garcia and The Grateful Dead
Saw that on some Instagram account. Thought it was a terrific read.
Recently been following along through the 87 Rocky Mountain tour. It’s worth a listen.
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https://youtu.be/5ZQtd809S8M
Good vid and sound from last week's show. Shakedown drops into a nice groove as it rolls along, with an interesting Stanley Jordan solo starting about 27 min in.
Tuning/Jam- 2:11
Dark Star- 4:31
St. Stephen- 13:28
Shakedown 23:07
Terrapin- 37:23
Jack O' Roses 49:53
Let it Grow- 59:00
Dark Star jam - 1:12:24
Playin' 1:20:47
Somewhere Over the Rainbow 1:33:57
Mountains of the Moon- 1:44:04
Uncle John's Band 1:52:43
Band Introduction/Donor Rap 2:02:58
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I don’t golf, but I laffed.
Psilocybin, Lies & Duct Tape!