Shug

Oh, shit you got your Spanish jam spilled in to my Tighten Up jam! ha ha ha! Tighten Up jam is believed to possibly be based on the song Tighten Up by Archie Bell and The Drells. Some think the Spanish jam, like in 2/11/70 Fillmore East between the Dark Star and the Lovelight, is based on Miles Davis' Sketches of Spain. Here's an impressive essay from the always impressive Light Into Ashes dude on this topic. Should clear things up if you are up for the reading/listening! Oops,. I see Lammy you already found it! http://deadessays.blogspot.com/2010/01/deads-early-thematic-jams.html

I'd say what Bobby played on Easy Wind in 1970 is probably the longest "traditional" picked-note lead guitar solo (while Jerry did some rhythm stuff in the background) he ever did with the Grateful Dead. Sure wish he did more of it, because when he did, it was killer. And I agree about the importance of his little filigree part in China Cat and in the transition into Rider. When Bobby was on that, playing tight and articulate like he did in '72-'74, is was a peak moment of Dead music. Did you listen to the Easy Winds and the Here Comes Sunshines? In HCS, Bobby is doing a lot of plucked-n

Did you ever waken to the sound of street cats making love and then realize it was Bobby playing a slide part in LIttle Red Rooster?

I'm not totally sure what you mean by trading solos, but maybe you are talking about this kind of stuff? There are not a lot of times, to my ears, when Bobby plays what I'd call lead guitar or takes a solo, other than the at-times horrendously off-key slide solos he'd take in the blues tunes (Minglewood, Rooster, Walkin' Blues, etc). But when he did play a lead or solo or just a picked counter phrase (as opposed to his rhythm strumming) it could be really good. He had a prominent lead part in China Cat, as you mentioned, that could really make or break the version, IMO, that was clear an

I know what you mean, apparently for the Street Legal tour that the Budolan album is taken from they/he was going for a big soul review kinda thing, but it got too slick and produced, so it sounded more like a Vegas review than a Muscle Shoals review. i think as I read more stuff that Dylan just tries stuff on impulse and whim and predictably, it often doesn't work out so great. What is amazing to me is all the times this approach resulted in some of the greatest rock music ever made. I think it speaks even more to Dylan's brilliance. There are a couple decent moments on Budokan, I think,

I agree, Shakedown for me peaked in 1979 because it was so funky. This is my fave Shakedown of all time, New Haven 10-25-79. It was just in 1979 that Brent was using that particularly aggressive late 70s jazz-funk organ tone. Not sure what keyboard produced it, but I frickin' love it! (I'm not talking about the electric piano sound he starts the song with) Starts at about 11 minutes into the Shakedown as they are heading into the jam. https://archive.org/details/gd1979-10-25.aud-set1.sbd-set2.miller.22311.shnf You can also hear it in the massive transition jam between Scarlet and Fire

Nels Cline + RT on Sloth = fucking amazingly stoked me if i were at the show! I am with you. Or Calvary Cross or Night Comes In or You Can't Win Or how about RT + Wilco on Spiders? So many tantalizing possibilities!

And you get to see JJ Grey and Mofro open for Galactic, nice! Would love to see My Morning Jacket do another late night show with Pres. Hall Jazz Band, too. I've not heard anything about that, though.

This looks pretty cool on the 29th and 30th. AXIAL TILT A Grateful Dead Celebration at Jazzfest 2 Nights - 6 Sets - No Repeated Songs Stu Allen Rob Eaton Mitch Stein Robin Sylvester Jay Lane PLUS SPECIAL GUESTS Donna Jean Godchaux Charles Neville AND MORE 1 Acoustic Set + 2 Electric Sets Both Nights Show: 10 pm Single Night Tickets : $40.00 2 - Night Pass : $75.00 2 Night VIP Pass : $120.00 10 pm to 3 am

Also a really good To Lay Me Down from Dijon '74 except they kinda blow the ending. Black Throated Wind and Row Jimmy from this show are also good, I think. I liked it when Keith played that classic 70s electric piano tone (Fender Rhodes?) like on the Row Jimmy. Really nice early stand alone Scarlet Begonias from Fresno '74, too.

Dave Rawlings Machine has been covering Changing Of The Guard, it sounded great a few weeks ago at a show here in Scottsdale, AZ. But the track on Streel Legal that I think is unmitigated brilliance is Where Are You Tonight. I love the stream of consciousness lyrics but moreso how it builds and builds in intensity of performance and delivery and the band really gets cooking, more surprising to me that its a studio performance. Senor is not too bad and I have a soft spot for Is Your Love In Vain, one of those straight forward love songs that Dylan puts out every once in a while, like Make Y

I've heard that "Clapton is over-rated, not that good," etc idea on here a few times which I have a hard time understanding. I mean he was in the Yardbirds, John Mayall's Bluesbreakers, Cream, Blind Faith, Delaney and Bonnie and DEREK AND THE FUCKING DOMINOS!!!! Isn't that legacy enough? But for me the music speaks more than words. I guess guitar playing like this doesn't impress or move everyone, but I don't know why it doesn't. It leaves me stunned. Some people thought SRV was over-rated, too. Clearly, some people just like different stuff. I think of SRV, Clapton and Derek Trucks a

I saw this once in San Jose in 1994, I think. That's my favorite Pearl Jam song still and it was an awesome opener to a great show.

I'm glad they took care of Randy's medical bills, because that guy was so talented. I love in the Maryland 1977 show when Randy nails Take It To The Limit and Felder gives him the "you are the man" props with a huge smile on his face at the end of the song. Even Glenn gives Randy props for his lead vocals on that one, even if he also gave him shit for his nervous reluctance to do it every night. https://www.youtube.com/watch?v=O7hmF_IX9Ic

I say see Derek now as much as you can. His talent is on a level with SRV, Clapton, or any other blues rock guitarist held up as the peak of the genre. We are frickin' beyond LUCKY to have him around because talent like his only comes around every couple decades. God forbid, if he leaves us, many will deeply regret not seeing him as much as possible. He's staggeringly great, IMO. But he's humble and does all his playing as just another guy in the band in service to the song. He amazes me every time.

I can get behind what you are saying in spirit, Vacant, but I think I give Frey and Henley a bit more credit as songwriters than you do. When I think of Frey's and Henley's really good songwriting, I think of Lyin' Eyes and New Kid In Town, Wasted Time and The Last Resort. Those are fantastic melodies and really good lyrics IMO, but they also have a critical perspective on the shallow materialism of celebrity, fame, wealth etc while also relating to the emotional realities of the characters going through those experiences. Not that there isn't a shit-ton of hypocrisy in there, but it is perh

I LOVE the music of the Eagles and I have never given a rat's ass about how popular or overplayed on the radio any music I like is. I don't have a problem with slickly produced and highly crafted pop music or romanticism or any of the other things Eagles get routinely criticized for. No doubt Frey was an incredible songwriter and he (and Henley probably went along with it willingly) drove that band to rehearse and rehearse. There is a reason they were so good on the vocals and Frey being a taskmaster definitely had a lot to do with it. This is a nice piece by Cameron Crowe http://www.ro

I love New Orleans and New Orleans music, but I've never been to Jazz Fest. I've heard about all the night time shows in the clubs and curious if anyone knows how you get the info about who is playing what night time show and when and how to get tix ahead of time, if that is possible. Anybody know?

Plus the very next night is JJ Grey and Mofro with the North Mississippi All Stars, that sounds like a real nice weekend.

Tom Petty. 3 discs of his Playback box set are entirely non-album tracks and its filed with great great stuff. Disc four: The Other Sides"Casa Dega" (Petty, Campbell) – 3:37 "Heartbreakers Beach Party" (Petty) – 1:57 "Trailer" (Petty) – 3:15 "Cracking Up" (Nick Lowe) – 3:34 "Psychotic Reaction" (live) (Ken Ellner, Roy Chaney, Craig Atkinson, John Byrne, John Michalski) – 4:49 "I'm Tired Joey Boy" (live) (Van Morrison) – 3:42 "Lonely Weekends" (live) (Charlie Rich) – 2:47 "Gator on the Lawn" (Petty) – 1:35 "Make That Connection" (Petty, Campbell) – 5:04 "Down the Line" (Petty, Lynne, Campbe

Happy New Year! We rung it in with Tempe AZ cover band Xtra Ticket with A'Bear from JGB. They recreated 12/31/80 and it was very good, like DSO-good. They completely nailed the acoustic stuff with lots of great piano solos and nice vocal harmonies. To Lay Me Down, Cassidy, Bird Song were highlights for me, but it all sounded just like Reckoning, I was quite impressed and filled with a bunch of happiness and stoke. I've Been All Around This World and Ripple sounded extra good in person. https://www.youtube.com/watch?v=CDNDgcHcD04

My wife finds cool stuff like that on ebay and etsy and other like sites. djtees.com has a bunch of great music shirts, but she didn't get this one there.

Pigpen shirt I got for Christmas, my wife is awesome!

August 1971 (included in your spread of Jan-Sept) was a nice little peak of great playing. You have the killer show on 8-6-71 in Hollywood with the greatest ever Hard To Handle (imo) among other highlights and then that great two show run in Berkeley later in the month. I think I was raving about these shows a few months ago, but doesn't hurt to check them out again. The guitar tones, especially Garcia and Lesh's, are wonderfully crisp and clear. Short but intense jams throughout. https://archive.org/details/gd1971-08-14.sbd.trip.1451.sbeok.shnf https://archive.org/details/gd1971-08-15.