Musings on the Most Ridiculous Band I Can't Stop Listening To

Tag: 6/23/74

Grateful Dead: Miami Nights

band6.23.74After a little judicious and violent application of my keen and ninja-like Google Fu, I’ve found this picture from the Miami shows in 1974, but it’s not illuminating as to how the Wall was set up in the oddly-shaped space.

Also: Bobby wins the knees-down handsome competition this night.

Also 2: Garcia’s shirt is only possible in Miami. Everyone involved in that shirt–designer to manufacturer to seller to buyer–has to be on cocaine for that shirt to exist, and Miami is the only place where this is assured.

Also 3: Mrs. Donna Jean is gonna rest up for a spell.

Miami Vice

But what’s spinning at Fillmore South today? We got 6/23/74 from the Jai Alai Fronton as the Grateful Dead bring their talents and sexually transmitted infections to South Beach.

There’s the famously good second set, featuring a Dark Star (actually a Dark Star Jam because Garcia just Bobby’s the words and turns to the band and musically asks, “Instead of going to the turpentine knifefight of dimebags, why don’t we go into the brains of whomever is listening  and melt them?) into Spanish Jam into–wait, maybe someone hasn’t heard it! SPOILER ALERT FOR A FORTY YEAR OLD CONCERT!–U.S. Blues that will seem to you like a magic trick that isn’t actually a trick, just magic. They catch the bullet here, saw the lady in half for real. For realsies, even

Just go listen.

Listen to the whole thing, now because the whole damn thing is both the dank and the nugs. Goodness oozes. Listen to the only ever Let It Rock and a tight, propulsive Black-Throated Wind. (An underrated Bobby number.)

Listen to the way Garcia and Keith soothe over the surely-jangle nerves of the crowd in the nameless, transient jam into Ship of Fools, always one of my favorite of Garcia’s middle-of-the-show midtempo numbers

Do not listen to Seastones.

 

Happiness Is A Warm Pun

It’s sequel time here in Fillmore South:

Things I love about the Dead, Part the II

  • When Bobby would say “Thank you,” in that silly high-pitched voice.
  • The end of China Doll where it generally dissolves a little and then Garcia comes in all by himself with the “Take up your China Doll” part, which is really difficult to sing, because the notes are weird AND you have to get the time right, since you’re basically counting the band back in with it AND it’s pitched pretty high, but he got it right far more often than not.
  • The beginning of Truckin’ they’d do sometimes, with the whistles and the snare drums: BRUM-bum BRUM-bum BRRRRRR rum-bum.
  • Occasionally, later in the career, when Bobby would (as is the running gag with both my bloggings and, you know, actual recorded-on-tape reality) forget the lyrics to Truckin’, Phil would start BOMBING away at him and then come in on the next part where they all sing just SUPER LOUD, so clearly seething at the fact that it’s been ten years: learn the words, man.
  • He’s Gone. Not so much on the “Bop bop bop” coda.
  • The jam after Seastones from 6/23/74. Seriously, try to listen to Seastones. Now, on acid. But listen to what Garcia does right after: he plays the sweetest, softest lines, and leads everyone back from the dark place where Ned Lagin touched them.
  • The Baby Dead. The way they would take a riff and just brutalize it, tear it apart and put it back together, mostly the same but weirder for the journey.
  • Their refusal to give in to peer pressure. Often, they would be the only ones in the room who wanted to smoke and bullshit and yell at Bobby for five minutes; the other several thousand people present preferred some form of entertainment. Because, holy god, do these baboons take a long time in between songs. Sometimes for no discernible reason: you can’t hear them talking, nor are they tuning. Were they just wandering around confused for three minutes at a time? It’s not unprecedented: Thelonious Monk did it.