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Last night I was poking around the local library while my wife was looking for a new book. I started perusing the CDs, and found a JGB show put out by Rhino: Jerry Garcia Collection Vol. 2: Let it Rock (Nov 17 & 18, 1975, Keystone Berkeley), featuring Nicky Hopkins. 

 

I've only listened to a the first couple songs, but so far it's great. The sound is really good. 

 

There must be a Deadhead working for the library, because the catalog even includes Dick's Picks #8.

 

So, thanks to whomever is in charge of the music collection!

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Yeah, that's a great show. Hopkins in an interview said he had no recollection of the short period he was playing with JGB.

 

Btw, that disc is selling for $145+ on Amazon

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Hey Shug, did you consider that sweet sweet Here Comes Sunshine>China Cat>Rider from St. Paul? Don't have the date off the top of my head, but the transition from HCS into China Cat is one of the smoothest ever.

 

 

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I did consider that one, thanks for the suggestion.  That transition is sweet, no doubt, but you give up a full version of HCS to get it.  Hard to compete with the brilliant version on 12-19.  Have you read this essay?  The writer is pretty flowery but he clearly listens intently with lots of impressive attention to detail.    http://deadessays.blogspot.com/2011/05/here-comes-sunshine-guest-post.html

 

Here's a sample of his writing:

 

#1 - December 19, 1973

Curtis Hixon Convention Hall, Tampa (14:12)

 

The finest version of all. Excellent mix - everyone’s perfectly audible. This starts with probably the best intro and verse performance, crisp and on beat. Bob provides excellent flourishes. Into the jam, Billy’s laying down lots of cymbal work, setting up a divine melting jazz groove. Keith takes over intermittently, pounding electric chords. Bob’s scattershot, casting about. Phil bubbles. Feet are tapping, heads nodding. Jerry picks it up. Bob cranks up the flange and slowly brings in the transition, over which Phil stomps and Keith sprinkles fairy dust. Phil drops a hint. Billy and Keith open the hatch, and we enter free fall. The groove is THICK. Jerry is at full speed, challenging the rest to keep up. Everything Garcia is playing just works, beauty in every run of notes, sounding rehearsed but too vital to be anything but spontaneous. Building up, we think Garcia’s reached a melodic peak but he and Bob know better. Tied together in thought and impulse, Bob throws ringing chords backing the most furious solo from Jerry yet. A brief burst of inspiration to rival anything in his life’s output. Reaching the conclusion, Jerry brings in a final movement to finish the symphony that is this second jam. Complete thematic unity. A masterpiece. Jam #3 is telepathic, beautiful. Phil throbs, Bobby steps out, and again Jerry rises from the middle. A heavy sound, executed with the utmost lightness. Keith channels Monk, reprising his contribution to the final jam on 11/30. They stutter into the final chorus.

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Keith channels Monk, reprising his contribution to the final jam on 11/30. They stutter into the final chorus.

Comparing Keith to Thelonius Monk? I love Keith, but that one is just :rotfl

Anyone get the new Dave's? Kinda underwhelming. No more sub for me, just single picks (maybe) from now on.

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I enjoy the latest Dave's Pick (4.22.78) more than Dave's Pick 7 (4.24.78). It is strange that he released two shows so close together, when he has so much to work with.

 

April, 78 is one of favorite months for the Dead. Pretty loose and rockin.

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Anyone get the new Dave's? Kinda underwhelming. No more sub for me, just single picks (maybe) from now on.

I think the new Dave's Pick is wonderful. The sound is really good, and the playing is nice.

 

I think the Tennessee Jed is one of the best I've heard, and Jack Straw has a special energy to it. Also love the Estimated Prophet. Good all around. Loving it so far.

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I think the new Dave's Pick is wonderful. The sound is really good, and the playing is nice.

 

I think the Tennessee Jed is one of the best I've heard, and Jack Straw has a special energy to it. Also love the Estimated Prophet. Good all around. Loving it so far.

 

Not to mention the 1st set closer Deal  -- lot's of "Don't you let that Deal go down" ending with a "We quit" out of Weir.

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Interesting, interesting. I mean, it's not terrible, but it didn't do much for me. I think the things people are loving are the same things that strike me as being overplayed.

 

For contrast, I went back to Winterland '73 afterwards and listened to Weather Report>Eyes, and all was well with the world again. :lol

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Interesting, interesting. I mean, it's not terrible, but it didn't do much for me. I think the things people are loving are the same things that strike me as being overplayed.

 

For contrast, I went back to Winterland '73 afterwards and listened to Weather Report>Eyes, and all was well with the world again. :lol

That Winterland '73 box is just the bomb.  Can close my eyes and pick any track on any disc and I'll be sure to have a smile on my face very quickly.

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I did consider that one, thanks for the suggestion.  That transition is sweet, no doubt, but you give up a full version of HCS to get it.  Hard to compete with the brilliant version on 12-19.  Have you read this essay?  The writer is pretty flowery but he clearly listens intently with lots of impressive attention to detail.    http://deadessays.blogspot.com/2011/05/here-comes-sunshine-guest-post.html

 

Here's a sample of his writing:

 

#1 - December 19, 1973

Curtis Hixon Convention Hall, Tampa (14:12)

 

The finest version of all. Excellent mix - everyone’s perfectly audible. This starts with probably the best intro and verse performance, crisp and on beat. Bob provides excellent flourishes. Into the jam, Billy’s laying down lots of cymbal work, setting up a divine melting jazz groove. Keith takes over intermittently, pounding electric chords. Bob’s scattershot, casting about. Phil bubbles. Feet are tapping, heads nodding. Jerry picks it up. Bob cranks up the flange and slowly brings in the transition, over which Phil stomps and Keith sprinkles fairy dust. Phil drops a hint. Billy and Keith open the hatch, and we enter free fall. The groove is THICK. Jerry is at full speed, challenging the rest to keep up. Everything Garcia is playing just works, beauty in every run of notes, sounding rehearsed but too vital to be anything but spontaneous. Building up, we think Garcia’s reached a melodic peak but he and Bob know better. Tied together in thought and impulse, Bob throws ringing chords backing the most furious solo from Jerry yet. A brief burst of inspiration to rival anything in his life’s output. Reaching the conclusion, Jerry brings in a final movement to finish the symphony that is this second jam. Complete thematic unity. A masterpiece. Jam #3 is telepathic, beautiful. Phil throbs, Bobby steps out, and again Jerry rises from the middle. A heavy sound, executed with the utmost lightness. Keith channels Monk, reprising his contribution to the final jam on 11/30. They stutter into the final chorus.

Thanks, I never read that piece!  One of my favorite tunes in the entire GD songbook, I'm going to hunt down everyone of those versions.

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Full disclaimer. 

 

I waited until after midnight (wife and kids long in bed) Saturday night to listen to DLP15. I was prepping an overnight smoke of a pork butt, (weber smokey mountain, Kingsford charcoal, pecan and apple chunks, warm water in the basin, pork was salted 24 hours in advance, then rubbed about an hour before the smoke) Once the smoker hit 225, around 12:30, I put the shoulder on, then retrieved a 4-pack of Ommegang Fleur de Houblon Summer Ale (conveniently put on sale from $8.99 to $4.99 the day before), tipped my hat to the day-after full moon, then hit my own smoker for a toke or 3 or 4, then put on my headphones, and had myself a nice little quiet party out in the driveway for the next hour or two. 

 

So, my mood was perfect for a new Dead Show. And that Dead Show was perfect for my mood. Great night. Great show. 

 

And the next day, after about 13 hours on the smoker, the pork butt turned out great too. 

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Full disclaimer. 

 

I waited until after midnight (wife and kids long in bed) Saturday night to listen to DLP15. I was prepping an overnight smoke of a pork butt, (weber smokey mountain, Kingsford charcoal, pecan and apple chunks, warm water in the basin, pork was salted 24 hours in advance, then rubbed about an hour before the smoke) Once the smoker hit 225, around 12:30, I put the shoulder on, then retrieved a 4-pack of Ommegang Fleur de Houblon Summer Ale (conveniently put on sale from $8.99 to $4.99 the day before), tipped my hat to the day-after full moon, then hit my own smoker for a toke or 3 or 4, then put on my headphones, and had myself a nice little quiet party out in the driveway for the next hour or two. 

 

So, my mood was perfect for a new Dead Show. And that Dead Show was perfect for my mood. Great night. Great show. 

 

And the next day, after about 13 hours on the smoker, the pork butt turned out great too. 

 

 

Great! 

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I think the new Dave's Pick is wonderful. The sound is really good, and the playing is nice.

 

I think the Tennessee Jed is one of the best I've heard, and Jack Straw has a special energy to it. Also love the Estimated Prophet. Good all around. Loving it so far.

The Jed IS really really good, but that Wharf Rat! DAMN. Gotta be one of the best I've ever heard.

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I did consider that one, thanks for the suggestion.  That transition is sweet, no doubt, but you give up a full version of HCS to get it.  Hard to compete with the brilliant version on 12-19.  Have you read this essay?  The writer is pretty flowery but he clearly listens intently with lots of impressive attention to detail.    http://deadessays.blogspot.com/2011/05/here-comes-sunshine-guest-post.html

 

Here's a sample of his writing:

 

#1 - December 19, 1973

Curtis Hixon Convention Hall, Tampa (14:12)

 

The finest version of all. Excellent mix - everyone’s perfectly audible. This starts with probably the best intro and verse performance, crisp and on beat. Bob provides excellent flourishes. Into the jam, Billy’s laying down lots of cymbal work, setting up a divine melting jazz groove. Keith takes over intermittently, pounding electric chords. Bob’s scattershot, casting about. Phil bubbles. Feet are tapping, heads nodding. Jerry picks it up. Bob cranks up the flange and slowly brings in the transition, over which Phil stomps and Keith sprinkles fairy dust. Phil drops a hint. Billy and Keith open the hatch, and we enter free fall. The groove is THICK. Jerry is at full speed, challenging the rest to keep up. Everything Garcia is playing just works, beauty in every run of notes, sounding rehearsed but too vital to be anything but spontaneous. Building up, we think Garcia’s reached a melodic peak but he and Bob know better. Tied together in thought and impulse, Bob throws ringing chords backing the most furious solo from Jerry yet. A brief burst of inspiration to rival anything in his life’s output. Reaching the conclusion, Jerry brings in a final movement to finish the symphony that is this second jam. Complete thematic unity. A masterpiece. Jam #3 is telepathic, beautiful. Phil throbs, Bobby steps out, and again Jerry rises from the middle. A heavy sound, executed with the utmost lightness. Keith channels Monk, reprising his contribution to the final jam on 11/30. They stutter into the final chorus.

 

I did consider that one, thanks for the suggestion.  That transition is sweet, no doubt, but you give up a full version of HCS to get it.  Hard to compete with the brilliant version on 12-19.  Have you read this essay?  The writer is pretty flowery but he clearly listens intently with lots of impressive attention to detail.    http://deadessays.blogspot.com/2011/05/here-comes-sunshine-guest-post.html

 

Here's a sample of his writing:

 

#1 - December 19, 1973

Curtis Hixon Convention Hall, Tampa (14:12)

 

The finest version of all. Excellent mix - everyone’s perfectly audible. This starts with probably the best intro and verse performance, crisp and on beat. Bob provides excellent flourishes. Into the jam, Billy’s laying down lots of cymbal work, setting up a divine melting jazz groove. Keith takes over intermittently, pounding electric chords. Bob’s scattershot, casting about. Phil bubbles. Feet are tapping, heads nodding. Jerry picks it up. Bob cranks up the flange and slowly brings in the transition, over which Phil stomps and Keith sprinkles fairy dust. Phil drops a hint. Billy and Keith open the hatch, and we enter free fall. The groove is THICK. Jerry is at full speed, challenging the rest to keep up. Everything Garcia is playing just works, beauty in every run of notes, sounding rehearsed but too vital to be anything but spontaneous. Building up, we think Garcia’s reached a melodic peak but he and Bob know better. Tied together in thought and impulse, Bob throws ringing chords backing the most furious solo from Jerry yet. A brief burst of inspiration to rival anything in his life’s output. Reaching the conclusion, Jerry brings in a final movement to finish the symphony that is this second jam. Complete thematic unity. A masterpiece. Jam #3 is telepathic, beautiful. Phil throbs, Bobby steps out, and again Jerry rises from the middle. A heavy sound, executed with the utmost lightness. Keith channels Monk, reprising his contribution to the final jam on 11/30. They stutter into the final chorus.

That HCS is undoubtedly one of the very best, if not THE best version ever done. Latvala himself has said as much, and who in their right mind would argue with Dick?

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No Herring, Chimenti....

Yes Herring. He announced it on his FB page today.

 

EDIT: Well, now it's not there anymore. He must've taken it down. I read it two times earlier today.

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Your Bobby is a Wonderland


Yes Herring. He announced it on his FB page today.

EDIT: Well, now it's not there anymore. He must've taken it down. I read it two times earlier today.

Herring will be playing with WSP in Asheville on 10/31/15....

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