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I've seen 3,5 out of the 5 shows (SC+Chi) till now. I've only pushed the forward button with Little Red Rooster, the more anticlimactic choice Bobby could have chosen for an event like this (later I read it was supposedly honoring Willie Dixon's 100th birthday, but still...). Highlights? The Golden Road and Trey almost everywhere, he has gained my eternal respect. As to the cinema where I saw the final gig, it was me and my uncle and about 20 more persons in a varied 15-75 years old range, which surprised me,

 

At the Chicago shows - I saw infants through 80 year old's. Saw lot's of people who looked too young to see the Grateful Dead while they were touring, too. It was a great mix. 

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I've seen 3,5 out of the 5 shows (SC+Chi) till now. I've only pushed the forward button with Little Red Rooster, the more anticlimactic choice Bobby could have chosen for an event like this (later I read it was supposedly honoring Willie Dixon's 100th birthday, but still...). Highlights? The Golden Road and Trey almost everywhere, he has gained my eternal respect. As to the cinema where I saw the final gig, it was me and my uncle and about 20 more persons in a varied 15-75 years old range, which surprised me,

Did you leave his dead ass there by the side of the road?

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SarahC - you can always go to Archive.org and listen to any of their concerts. Can't really go wrong with anything from 70-74, but their are great shows throughout every year. It's a vast database - just gotta poke around. They shows with the most reviews, tend to be the best sounding and played shows.

 

I agree with the Europe 72 release and American Beauty. Live/Dead is indeed great - but it may be too much for some, but if you really like Live/Dead, check out the 68-69 stuff on the Archive.

 

https://archive.org/details/GratefulDead

 

I would start with the Terrapin Station album and, in particular, the Terrapin Station song...

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Start with "Reckoning"....live acoustic stuff. If you like that, go to "American Beauty" and "Workingmans Dead". If that settles in right, you've got a sound foundation to dive into the live electric stuff.

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Here's what annoyed me about these shows (caveat: I did not attend any), which is no different than a typical GD show was: first set of about 75 minutes?  Then a 60 minute set break, then about 30-45 minutes of music before a 10-15 minute drums/space segment.  My timings may be off , but not by much I bet.  So for 175 minutes, there's about 100 minutes of music.  Or something like that.  The point being, I don't care how old they are, I'm not into a 60 minute set break after 75 minutes of music, and then for all intents and purposes another break for the musicians other than the drummers.  Feel free to correct me if my numbers are way off.

From friends who went and were on the floor, it took about an hour to use a restroom, grab a beverage, and head back. I also think, these being the "last" shows, people there didn't mind much as they were re-connecting with folks. The set breaks were closer to an hour and a half, too, I believe.

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Don't forget to add the music being performed after Drums/ Space, but I see your point. Also- post d/s seemed to be getting shorter in the mid 80's/ 90's.

 

Anyone got the times (sets, d/s, and encores) from the weekend?

You likely know already, but all the set break tunes were composed by Neal Casal specifically for the shows. I liked it quite a bit.

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I heard horror stories about waits to get into the stadium, bathroom, beer, leaving, etc. I experienced nothing of the sort. I was able to scoot from my seat, grab beers and be back in mere minutes. Bathroom too. I suppose that's a benefit of behind the stage seats?

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From friends who went and were on the floor, it took about an hour to use a restroom, grab a beverage, and head back. I also think, these being the "last" shows, people there didn't mind much as they were re-connecting with folks. The set breaks were closer to an hour and a half, too, I believe.

 

Yeah - looking down on the floor - I was amazed. I was figuring it would take that long if one was in the middle of it all. I was in the 200 level seats - only left my seat during the set break and I had no problems.

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I was in 209...

 

I was on the opposite side - 242. Was afraid I wasn't going to have much of a view, since I was towards the side of the stage -- but I was able to see all - but the drummers, unfortunately.

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LOL, Bear's Choice. That was one of the first albums I got. Still like that one.

 

Reckoning, yes,a very good reccomendation.

 

I would think that anyone under the age of 40 started with In The Dark  =0   Touch, T. Stones, Black Muddy River.... good stuff.

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What would be the worst way to get into the band?

 

Built to Last, then Bear's Choice?

Hey, I like Bear's Choice!  Grew up with that.

 

My choices for "worst way to get into the band" (i love that topic):

Built to Last

Go to Heaven (definitely the worst GD cover of all time)

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Hey, I like Bear's Choice!  Grew up with that.

 

My choices for "worst way to get into the band" (i love that topic):

Built to Last

Go to Heaven (definitely the worst GD cover of all time)

Sorry - meant no offense! I don't think I've even ever listened to Bear's Choice - I know it's generally poorly reviewed, like Steal Your Face...

 

Instead of "worst way" to get into the GD, perhaps I should have said "albums least likely to be recommended" - like in some kind of Family Feud way.

 

SURVEY SAYS! *ding*

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Steal Your Face has to be the worst way to get into the Dead. As a double live album, you expect it to be amazing. But the reality is a muddy mess. I still have a hard time accepting a lot of those great songs, as it was my first introduction to them.

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The album was compiled as a tribute of sorts to Ron "Pigpen" McKernan, the band's original keyboard player and blues aficionado, who died while it was being prepared. The "Bear" of the title is Owsley Stanley, underground chemist turned Dead sound man. The original album was recorded and produced by Stanley, and fans often simply refer to the album as Bear's Choice.[3] Side one consists of acoustic performances by McKernan, Jerry Garcia, and Bob Weir on country blues material, with one original from Workingman's Dead and a cover of one 1950s rock and roll number by the Everly Brothers. The second side features performances by the entire band backing McKernan on two repertoire items, "Smokestack Lightning" by Howlin' Wolf, and "Hard to Handle" by Otis Redding.

The album was originally intended to be a first in a series, but Volume Two never came to be as this was the band's last album on their record contract with Warner Bros. Records. Dick's Picks Volume 4 from the archive release series also chronicles these performances.

The album was remastered for compact disc in 2001 as part of The Golden Road (1965–1973) box set, and later released separately in 2003. Four bonus tracks were taken from the same shows, as well as shows from a week earlier at the Fillmore West in San Francisco. In keeping with the tribute nature of the original record, three tracks feature lead vocals by McKernan.

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Start with American Beauty and Working Man's Dead and go forward with the discography, including official live releases like Europe 72. After that, start digging into live shows from different eras to see what you like. I don't think Live Dead is good place to start. It's really out there.

As a casual fan, I loke this approach. The songs on those LPs are solid. Once you really get them in your head I think it will be easier to appreciate their live approach.

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