Vacant Horizon
-
Content Count
3,323 -
Joined
-
Last visited
Posts posted by Vacant Horizon
-
-
Bob regrets not rehearsing enough for FTW in new article. FWIW. Not sure if it is from same article above.
BTW, went to see Dead/Co. in Atlanta. Had a really good time. Good mood, good friends etc. Have tried to listen back to a bunch of shows and not really feeling it. I really thought I was getting on the D/Co train. I really do like some of the spacey stuff with Jeff on the synth and Rhodes.
Phish tour next!
-
At Gettysburg this weekend a bunch of armed individuals showed up "to protect" confederate monuments graves and flags from Being dedicated by anti fascists (does that make them pro-fascist?) anyhow it was all based on an internet rumor that was proven to be false. In the long run these guys made visitors feel uncomfortable and one of them ended up shooting himself.
Classic! Once they get something in their heads it's there forever. This whole mess about this poor baby in the UK is an example. The kid is terminal and comments on the right news pages all talk about saving his life. They are misinformed about everything and angry about everything. There is not talking any sense into them.
-
You're joking, right? or you're trying to get the resident Weir proponent (me) all riled up? Ha ha ha! I thought I had posted a ways back my treatise on how I think Garica plays better when he doesn't have to sing lead vocals with Lazy Lightning and Let It Grow being two of the best examples?
I love Lazy Lightning, at its best its got the blazing Garcia leads, slashing chords from Weir, a catchy little melodic riff, intricate and precise ensemble playing from the rhythm. section and the keyboards (better in the Brent years, IMO) and a jam that just cooks along like a fast Italian sports car on a winding mountain road. What's not to like about all that? I've heard some say they don't like the lyrics, but they don't bother me at all. Chasing girls is one of the main themes in rock 'n' roll from the earliest days of Chuck Berry and the Sun Studios gang all the way through and Lazy Lightning and Feel Like A Stranger are right in that tradition. I got no problem with it.
Not like its gonna convince anyone who doesn't like the song, but I think the version from Go To Nassau (May 1980) is excellent as is the one from the Greek in '82.
The played in the 03 incarnation with Herring. Not to bad. Don't think bob could play that now.
-
i am curious - does anybody really like "Lazy Lightning"?
YES! Studio version is great too. The end of Supplication is a bit goofy.
-
I agree with all the posts here. I'm surprised Neil released something. I thought he was on a real break and would comeback with an acoustic album of fairly good tunes. Too bad. Now that Hitchhiker is cancelled I'm not sure we'll get anything good for a while aka Archives II.
As far as his good music goes Springfield up to Hawks and Doves is top shelf. The 80s were rough, but still a few good tunes (Inca Queen!). Resurgence, to me, was Freedom up to Silver and Gold (minus Mirrorball). Still some listenable tunes on each album. I did like Le Noise and that tour was excellent. The last several albums have just been awful. It's like Neil is just sitting there half tired hardly playing the guitar anymore. And the orchestra and choir? They've got to be laughing so hard behind his back.
An acoustic tour of Canada is a great idea!!
-
Just a general comment. I'm always one to give the benefit of the doubt. I argue cogently in order to learn new information and be challenged to change, hone my stance. I've always believed, against my better judgement, that reactionaries have good reason for their views. They don't. The last few days I've perused some of their 'real news' sites and I am astounded by the hateful, stupid, scary, reactive things people say about a totally spun news report. There's no way to engage them as you'll be dismissed as a Muslim. This seriously happened several times. These people are so deluded and drowning in pervasive misinformation and instigation that it's clear how the masses can be rallied for fascism, genocide and war. Even without TV and the internet. I have to say, it is a bit liberating realizing this as I won't be wasting time trying to engage and feel less guilty about seeing them as ignorant, deluded, of low intelligence or mentally ill. It's a very sad situation and seems like something out of a horror novel.
-
The shows they did with Oteil a few months back were outstanding, and featured an excellent Liz Reed. Lotta good youtubes of that run out there. They definitely bring more of a Phish mentality to the Dead catalog, with the energy, teases, and segues. Not better, but guaranteed fun. They also actually play a lot of those classic Bob Weir tunes, which sadly Bob doesn't play much anymore in his various bands since 95. That show only has 3 Jerry tunes, but looks fun as hell. Wish Bob wouldn't neglect his tunes in favor of barking out Jerry's songs.
You're right. The sets I've looked at seem to have many Bobby tunes. Good stuff. I'm checking out the Oteil stuff now. They had another bassist the other night. Guess that position is in flux.
-
JRAD last night in Atlanta. The twists and turns these dudes take are like '90s Phish. Changes in tempos, starts/stops, space. If they don't plan some of that stuff out, then I don't know what to say. Teases everywhere. Last night they teased Friends by Zep during Trucking I think. Among other highlights was a Help>Elizabeth Reed>Thrown Stones. Transitions were seamless. BTW, during every jam this woman next to me kept saying, "Now they're just being silly!". Hilarious.
Anyway, great fun with many surprises. Definitely bringing something new to the music. Setlist below may have some mistakes.
Jam>
Jack Straw>
Truckin'>
Bertha>
Tennesse Jed
Black Throated>
Jam>
Music Never Stopped>
Dancin' In The Streets
Help>
Elizabeth Reed>
Throwin'
No encore or set break. Festival show with curfew.
-
Not sure what the last best is, that one looks good. But I think 3/18 is the best from 95.
I was thinking post-91. Need to revisit 3/18.
Watched part one last night. I'm taking my time and savoring it. Excellent so far from interviews to graphics to Bob sitting in full lotus!
@JW
Great points! I do agree about Meir. As I remember, the second time they got together was a good time for Garcia. Not sure what happened there. I would love to see a Phil doc, especially his life after the Dead.
-
Maybe the two best American bands period. Grateful Dead were certainly the most important American band, due to their genius and impact.
Other contenders would be: CCR (were they really a band or more of Fogerty and support), Beach Boys (I don't think so), the Band (eh?), Talking Heads, Nirvana. Who else? I'd put Dead and Allmans above all those by a long shot.
I guess you can't include solo artists in the band category, so no Dylan, Elvis, Chuck, etc.
Eagles!
-
Certainly the best show from 95 that I've heard. Not sure why they released the Utah show on the 30 Trips box instead. Can't recall the first set, but great set 2. My favorite Iko, followed by All Too Much, which I really enjoyed. Likely the best version of Visions, and it was included on Fallout from the Philzone. Certainly worth a listen.
That's weird. I've always thought 9/13/93 was the 'last' best show...also at the Spectrum. Pre drums is x-factor material
Scarlet/Fire
Playin
Dark Star
Terrapin
-
Vince was mainly chosen for his harmony vocals, right?
Mydland was chosen because he was in a band with Weir, Garcia may have seen him once, so they went with him.
Keith asked to join the band and he was in.
These guys really didn't give a shit about keyboard players.
Good point!
Incidentally, anyone check out the first two Dead/Co shows? Pretty slow and a bit sloppy, but they sound pretty good to my ears. Very mellow. I'm going to the Atlanta show. For some reason, I'm in the mood. I'm so hot and cold with the post-Jerry stuff. This is quite the summer for couch tour with Dead/Co now and then Phish soon after.
-
I was in college in Atlanta in 1970's. One night, we heard that Cowboy, a group out of Macon was playing on Peachtree at The Electric Ballroom. Tommy Talton and Scott Boyer were the key members and wrote "Please be with Me" with Duane on Dobro. They also played on Laid Back. We got a front table, had dinner and drinks ( legal at 18 back then), and enjoyed the show. After a few songs, they introduced "some friends" and the Allman Brothers took the stage, minus Dickie. What happened for the next 3 plus hours was unbelievable. At one point, they were jamming to You Don't Love Me and at a somewhat similar pause as in Fillmore, my buddy yelled "play all night" which got a look and a laugh from Gregg. Many years later, I saw him in Nashville for a book signing. He was just a shadow but remained gracious and despite a sign that said no personalized messages, he did for me when I brought up that story.
Yeah, all these deaths strike home and keep reminding me we are all here for a very short time.
Not enough time for all the music!
Thanks for telling that story, I have never really heard any of his solo albums. I have read about them - but never listened to any of them.
I have to post this again. If you don't care for long songs or songs with instrumental passages - skip to @10:20 or so.
Heard Desdamona a few years before it came out. Definitely a classic. FWIW, Dickey's first few solo albums are pretty good. Gregg's were more soul and more produced. His last one was a nice blues record.
-
There actually was an idea thrown out there for a hot minute about NOT replacing Brent and going out as a 5 piece, from what I've read. But ultimately Garcia had to know that would mean a lot more of the burden for sound falling in his lap. I think Jerry loved Brent for a number of reasons - #1 being (of course) he was a real PLAYER who was inventive and sympathetic to the band. But he also knew he could cruise through a set and take it easy and Brent would be there with the force of his musical personality to make things sound good. Basically, he just didn't want to have to work that hard anymore.
Mike Finnegan would have been my choice, but I don't think he was ever brought up. I think he was 12 steppin' at the time, and that certainly wouldn't have been a great fit in that environment!
Interesting. Thanks for the info. Did not know this. Wonder why they didn't just do '91 with only Bruce? I can see them not giving a shit though. Being in a band itself is exhausting. Trying to deal with sound etc. can just be overwhelming.
Mike Finnegan played with CSN I think.
-
It's not *only* in retrospect that I thought he sounded horrible.
Sent from my iPad using Tapatalk
Ah, thanks for the clarification. I thought maybe you thought Vince was the best synth player ever! LOL. I guess live he was easier to listen to.
-
I saw a potential 'cover' that was really cool. Hope this is not a rumor.
-
Okay, I've been meaning to lay all this out somewhere to look at it, and it's a rainy day so I'll put this here:
As a Beatles fan at birth I've overthought just about everything in their career. No issue has sustained my fascination more than the real/mythologized partnership/competition between Lennon and McCartney as songwriters. For my understanding as of Rubber Soul they were pretty much coming up with their own tunes, and offering each other some feedback, or the occasional middle 8. By Pepper (with the obvious exception of 'A Day in the Life') they were penning their own tunes alone, with just arrangement and production input for each other in tandem with Martin.
I think because of this, if you separate their contributions to different albums you can see two songwriters on two different trajectories. George Harrison, was kind of on his own trip, but the same exercise could be interesting for him. Here's the best I can parse it out:
Rubber Soul
Lennon McCartney
Norwegian Wood Drive My Car
Nowhere Man You Won't See Me
The Word Michelle
Girl I'm Looking Through You
In My Life
Run for Your Life
* Wait shares lead vocals and feels pretty McCartney in origin, but I'm not sure
Revolver
Lennon McCartney
I'm Only Sleeping Eleanor Rigby
She Said She Said Here There and Everywhere
And Your Bird Can Sing Good Day Sunshine
Dr. Robert For No One
Tomorrow Never Knows Got to Get You Into My Life
Sgt. Pepper's Lonely Hearts Club Band
Lennon McCartney
Lucy in the Sky w/ Diamonds Sgt. Peppers (and reprise)
Mr. Kite She's Leaving
Good Morning Getting Better
Fixing a Hole
When I'm 64
Lovely Rita
* A Day in the Life- collaboration
Magical Mystery Tour
Lennon McCartney
I Am the Walrus Magical Mystery TourStrawberry Fields Forever The Fool on the HillBaby You're a Rich Man Your Mother Should KnowAll You Need is Love Hello GoodbyePenny LaneThe White AlbumLennon McCartneyDear Prudence Back in the U.S.S.R.Glass Onion Ob-la-di, Ob-la-daBungalow Bill Honey PieHappiness=Warm Gun Martha My DearI'm So Tired BlackbirdJulia Rocky RaccoonYer Blues Why Don't We Do It in the RoadEverybody cept Me/Monkey I WillSexy Sadie BirthdayRevolution Mother Nature's SonCry Baby Cry Helter SkelterHoney PieAbbey RoadLennon McCartneyCome Together Maxwell Silver's HammerI Want You (She's So Heavy) Oh DarlingMean Mr. Mustard The Ending Suite (Bathroom Window, Golden Slumbers, Carry That Weight, The End, Her Majesty)Polythene Pam*Because seems legitimately collaborativeLet It BeLennon McCartneyDig a Pony Let It BeAcross the Universe The Long and Winding RoadGet Back*Two of Us, Maggie Mae, One After 909 might also be collaborativeSeeing this all in one place is really interesting to me. A lot of what people have written about Lennon and McCartney's different songwriting strengths bares out in these lists. McCartney's optimism, Lennon's cynicism, McCartney's craft as a pillar of popular song, and Lennon's interest in pushing the Beatles boundaries. So much of Paul's material is classic "song about a girl" material for anyone to relate to, whereas Lennon's most hopeful love songs are a spiritual kind of love. In fact, some of John's songs about girls seem borderline misogynistic (Run for You Life).I also think you can see their inspiration ebb and flow. Part of what makes Pepper kind of an overrated album to me is Lennon didn't have as much great material to contribute. Interesting considering he's the defining voice on Rubber Soul. Paul seemed to never run out of songs, and it's really in the eye (or ear) of the listener which of his contributions are classic and which are hokey. Either way, two titans at work. I skipped over some important singles, and Magical Mystery Tour. The latter because it doesn't have more than a couple songs from each.There's a whole other story about George Harrison, the late bloomer to be told, but that's another day.I'd love to hear what others think of this perennial John vs. Paul story.Dude, I'm with you on this. I'd say that even on Help you're seeing them separate. I think that is what set them into high gear with RS. Each was finding their own style and write most of a song and then the other wold come in and add the magic dust. I know I've heard stories where Paul is just dicking around on a piano and John tosses off some lyrical idea and bam! you got Hey Jude or whatever. It is forever fascinating to me how songwriting team solo stuff is just so so to bad, while the collaborations are, in this case, genius. What is that X-factor?
-
The new mix of Sgt Pepper is amazing. Like hearing it for the first time.
Really? Wow, that's quite a statement.
Edit: Damn, you're right!
-
They are starting to really hit home for me. This guy is a damn legend and now he is gone. It' really unbelievable. Makes me think more and more about my mortality. RIP Gregg
One of my favorite albums of theirs was Back Where It All Begins. That, and those two live sets they put out in the 90s. Got to see them several times then with Warren and Woody. One in particular was one of the best show's I ever saw. I'm so glad they were able to have some solid years near the end. Those final shows are incredible.
-
Couldn't disagree more.
Sent from my iPad using Tapatalk
So you think it sounded better or worse?
-
I remember fans really being supportive of Vince and his new songs. It kind of became an inside joke to laugh at his tunes, but in love. I still think his tunes would've fit better in the first set. It's only in retrospect that Vince's sound was a bit jarring. Much of that due to sound mix and his use of a fucking synth. It would be cool to hear more about how Vince was hired etc. Also, what happened after Jerry died. That stuff is fascinating to me. I remember rumors that Santana or David Hidalgo had auditioned for the band.
Looking forward to hopefully hearing a stream of tonight's Dead/Co. show. Their posters and stage set up are pretty cool. The visual aspect of the band has always been part of it all for me. I need to set up some sort of alter in my home with a steely at the center
-
There's a theory floating around that any first set with a Big RR in automatically it makes it a hot set. I was thinking the other day about tunes that never failed to kick ass, and Big RR is one of them. Another that came to mind was GDTRFB. Seems like it was always spot-on.....
I'd add Dark Star to that list.
-
I've seen DSO 4 times in about a 5 year span ('99-'04 ish). This was when they did full GD shows (do they still do that?). Anyway...I called all those shows but one (which I think was a '77 show) before they announced it at the end. My friends would freak out on me haha. I must be 'on the spectrum' or something.
I'm the same way. I remember in early 00s I saw them do a late 80s show and played Victim. I never thought I'd see a cover band do that song. They are damn fun to see, but the 'uncanny valley' is sometimes hard to climb out of.
Going to JRAD next weekend. Haven't formed an opinion on them yet. Looking forward to it. Love Russo, of course.
-
I'm sad when artists die, but this one is hitting me hard. I started crying when I read it was a suicide. He was done. I struggle with this shit and I know. 'Go on and save yourself'...When someone is going to kill themselves, there really are no signs. You are in a place where you can't die and you can't live. I can't think of a worse hell.
The Grateful Dead
in Someone Else's Song
Posted
It's funny, I was on this huge Dead/Co. kick last month before and after the show I saw. Now I just don't care. It's weird how tastes change fast sometimes. I wish Phil would do a residency in the south. Really miss seeing him. Some of his recent shows I've listened to repeatedly.
Concerning Bob with Dead/Co....his playing is less rhythm and more like a lead player. He's definitely moved more into that role over the last few years. He just plays these little riffs. His voice is going though. Sad to say. He always could be counted on for solid vocals.