should i give the grateful dead a chance?

As I promised myself, I listened to the 50th Anniversary Workingman's Dead today, Labor Day (getit?): YouTube rolled all sounds through my headphones right on cue, in a way I'd never noticed before (my old record player was not so good). Pitchfork review of this edition confirms Garcia and sound specialists meticulously planned the design, resulting in, as the 'fork points out, a combination of "bracing" clarity or maybe they said precision, with "weathered" textures of instruments, but I think weather is most of all generated from these songs def. being ones of experience---the rays of hopefulness come from experience of knowing you need 'em, also maybe from flashbacks. Clarity also reveals occasional vocal limitations I hadn't noticed before, ditto occasional lyrical limitations of Hunter's cracker barrel philosophizing. But many felicities of playing are now revealed (helps that I haven't listened in however long it's been), including even the double-drumming spotlight turn on "Easy Wind," which now sounds like old horses motivated to git up and dance on floorboards of the general store. I once made the mistake of listening to "Black Peter" when I was sick, not that sick, but put me off playing (or owning) the record any more---but now it sounds like one of their best studio tracks ever, incl. when they slam into, "See now how everything/Leads up to this day/It's just like every day, that's/Ever been." Yes!
Listened to most of the bonus show via archive.org: downloaded the vbr playlist and played some of it offline, even though its page is now marked "streaming only," since inclusion on the 50th Anniversary Ed., of course. Another xpost Charlie Miller flac from soundboard, and song selections go well enough with WD (charming Weir lead vocal on "Me and Bobbie McGhee"), also enjoying Bill's drumming without Mickey all through this. Several reviewers of several postings of this show say that it's not quite as hot as previous ones during this Feb. '71 visit to Port Chester, so I may check those too.

A bit confused by the mention of Garcia- I guess you mean the sound design of the original release, not this edition? Anyway, a great album, and "Black Peter" is a great track.

Yes, sorry, I was thinking of WD backstory in Stephen Thomas Erlewine's Pitchfork review of The Angel's Share, which I'll have to listen to:
Much of that precision can be chalked up to how the Grateful Dead mapped out all of Workingman’s Dead prior to recording the album with their live-sound team of Bob Matthews and Betty Cantor, a pair who shared a co-production credit with the band. Nothing was left to chance. Matthews, Cantor, and Garcia drew up a provisional sequencing during these sessions, circulating this rough draft on demo cassettes among the band. Rehearsals came next, then the rapid sessions, outtakes of which can be heard on The Angel’s Share, a digital-only collection released alongside the 50th Anniversary edition of Workingman’s Dead. The chief insight provided by The Angel’s Share is how Garcia kept the Dead on track, calling for changes in tempo and directing the arrangements so neither the song nor vibe is obscured. Compared to its willfully spacy predecessor Aoxomoxoa—an album the band recorded twice, as the band exhausted the possibilities of a new 16-track tape recorder while exhausting the patience and wallet of Warner Bros—the simplicity of Workingman’s Dead is bracing, even refreshing, but it’s the earthy, weathered grooves that give the album its distinct character and power.

The Feb. 71 show on on the Workingman's Dead 50th reissue is one of the best-sounding shows they've ever released. The show rocks too--the sound of Billy unchained

I tend to be cranky about remasters, but what jumped out at me on first listen to this one is that it's very "Phil Zone."

Sometimes clarity is the enemy imo. Modern engineering places way too much of a premium on clarity.

It may well be that I would have noticed those limitations I mentioned even w/o added clarity---actually I remember thinking the sound was too spare, sparse, even, but like I said, bad record player back then---not a prob now, and bringing out the bass may well have helped; I worked in a Dirty South CD store for several years, and must have bass. If you mean the live set, no prob with it there either, so far (though I haven't listened to the whole thing yet; it's long).

Sorry for two "may well"s

I meant the studio versions -- it's subtle, but Phil's bass just barely crossed the line from supportive into intrusive for me on certain songs

wow yeah the show accompanying the reissue sounds terrific

I'm trying to find earlier releases for comparison, but it seems like youtube may have auto-replaced them all with the 2020 remaster? Either that or they're mislabeled.

When I listened to the reissue, it really felt like hearing it again for the first time (though my first listen was only about nine years ago). It's a much more (and I'm not a fan of this overused term) immersive. And I've never been much of a fan of Three From The Vault, so I wasn't too excited about another show from that run, but they're really on fire here. Definitely (and strongly) prefer this to Three. Like J. Sam said, it's Billy unchained. On Three he sounded like, "uh-oh...what do I do without Mickey?" but two nights later he's all, "THIS is what I'll do without Mickey!"

https://www.youtube.com/watch?v=qdq_gg9rJZ8&ab_channel=DSDtape

New newsletter, w link to hear Angel's Share of American Beauty, also podcast, then link to pre-order 50th Anniversary AB, ditto for next Dave's Picks:
http://view.email.dead.net/?qs=7c09a14552edfd1d0036a5e34b20833f9178db113d8e8f89fa613a7a5643983e2012adcf82122aa34784207164165d4d59d13e76e17f33748775a08bdcc865aa1dd7b6af32fcfbf8

The Good Ol' Grateful Deadcast is such a good podcast. Interview with Ned Lagen last week was so interesting, and they did a deep dive on If I Could Only Remember My Name. They have such good people working for them.

The submissions are comin' in and what a mighty fine bunch they are - from the (naturally) all female-fronted Brown Eyed Women Band to a Hebrew version of "Friend Of The Devil," we're already feeling inspired. How about you? There's plenty of time to bide, so why not safely gather your tribe or do the Dead from a distance?
Already done did it? Simply upload your rendition to YouTube, tag it "DeadCoversProject," and we'll make it available to view on the band's official YouTube channel in February.
More info:
http://view.email.dead.net/?qs=6093a5e362a95f29ab5941b9eef7feac75b364bcb1b4da8471cecdfe25c551802cf32a2de67bb8c35c42ee5bbe5316360d6056b8a94241aacd78e96af31393cd8bbb0a9d7b0bc2343ac38beaea3b934e

i grew up on touch of grey so is that a good start?

the guitar-guitar/guitar-piano interplay in this continues to beguile me. I think it's one of the most sublime things in recorded music.

https://www.youtube.com/watch?v=NDuZfdf4hFQ

Sometimes I think that the 6/23/74 Jai-Alai Fronton is my favorite Dead show ever. Tonight is one of those nights. I mean, a killer “Seastones”! That jam into “Ship of Fools”! The “Dark Star” jam! So much to love. It’s a killer night for Keith too. I’m listening to the Dave’s Picks version now, but this tape was one of the instrumental ones when I first got j to the Dead and I’m glad it still sounds as good today.

“got into”, damn my fat fingers posting from my phone

haven’t heard that one, will check it out!

It’s a stone-cold classic

https://i.imgur.com/VfkZ70m.jpg

nice acoustic set, night before harpur college. at first i couldn't believe that the harmonies in the first set were the dead, because they were in tune- then i realized members of NRPS were sitting in

https://archive.org/details/gd1970-05-01.sbd.miller.95683.sbeok.flac16/gd70-05-01d2t01.flac

lmao

Reviewer: mattsegel - favoritefavoritefavoritefavoritefavorite - June 26, 2013
Subject: Unbelievable

I don't care how 'good' the second set is, the first set is unreal, Jerry singing on Mama Tried and MAMU...sound is perfect. This is gold! Actually upon further review I don't think Jerry is singing on those songs.

that's a true deadhead review right there.

my favorite one was this, a direct quote. re: 5/8/77

Yes, it is overrated. It is not *THAT* much better than a handful of other shows. It is, however, the absolute #1 work of art that I consider proof of the divine essence of man.

bought those recent 50th anniversary Workingman's Dead / American Beauty sets — and the live shows sound great. Good to be reminded that a pro mix can elevate a familiar recording. Performances are super loose, even sloppy at points, but they have a certain magic.

also -- worth a follow https://twitter.com/charliemiller87

bought those recent 50th anniversary Workingman's Dead / American Beauty sets — and the live shows sound great. Good to be reminded that a pro mix can elevate a familiar recording. Performances are super loose, even sloppy at points, but they have a certain magic.

― tylerw, Wednesday, 10 March 2021 04:10 (nine hours ago)

Stop it Tyler. I've managed to persuade myself that I didn't need these!

They are both really good! But if you can only buy one, I'd recommend the American Beauty one since it has the 2/18/71 show at the Capitol Theatre that includes the "Beautiful Jam" out of "Wharf Rat" and back into "Dark Star". It's tremendous and I've come back to that set much more often than the one packaged with Workingman's Dead.

It was cool to hear wharf rat sandwiched in a dark star sandwich but didn’t notice anything distinct enough to be given a title like that

It's barely over five minutes, here's a YouTube excerpt of that portion:

https://www.youtube.com/watch?v=9WD3d_CUTbw

From the great Grateful Dead Guide blog:

also the "Beautiful Jam", done only during the 2/18/71 Dark Star, which is quite unique, almost a song in itself. (I don't think it's closely related to the Tighten Up jam, though others hear it that way.)

A shorter excerpt, at just four and a half minutes was included on the So Many Roads box, which might be on your favorite streaming service of choice too. It was on Spotify at one point, but I haven't checked recently.

Yeh the Spotify version is what I’m listening to but it’s not broken out as a distinct track

i am a very attentive dead listener and haven't caught on to the 'beautiful jam' yet. doesn't strike me as anything remarkable

it's good, but most dark stars from that era are

i dunno, i think it's pretty remarkable — "beautiful jam" is a good title.

Listened to that live set and hooboy that run of “Greatest Story Ever Told” through “Hard to Handle” is a bit too much Weir lead vocals for me.

If I let myself start buying the 50th A. sets, would also get Anthem of the Sun and prob Aoxomoxoa---how's the debut s/t?

xp haha! i think that is first eve "greatest story" — and it shows!
funny, i was listening to that new live set included with The Band's Stage Fright and it's like those dudes were Steely Dan compared to the Dead. But then again, you don't ever get that weird trainwreck danger you do from the Dead.

(All of the live bonus sets are still on archive.org, or were the last tyme I checked.)

weird trainwreck danger you do from the Dead.

how's the debut s/t?
It is okay. The live set included is nothing revelatory, its worth is dependent on your opinion of those early days. There isn't a whole lot of jamming, outside of "Viola Lee Blues." The sets on WD and AB are both more interesting. Have not listened to the Anthem 50th, though it looks good. I don't think they released one for Aoxomoxoa.

They did one for Aoxomoxoa which has both stereo mixes of the album on disc 1, and a live show from the Avalon Ballroom on disc 2.

so they did! My bad.

Does anyone stand for weirs solo record from 78? Overcooked

https://www.youtube.com/watch?v=fGB46f4fGzc

typo or accurate description?

I’m at the “why do i keep trying to listen to this terrible band” stage which, if this thread is anything to go by, is the first stage of fandom