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Carrion_Crow

Stealth Head

+48136


Submissions

2
Casey Jones
March 5, 1972
Winterland Arena

After a pretty sloppy 1st set, they charge up and nail this one. Phil goes bananas on the out chorus.
3
China Cat Sunflower -> I Know You Rider
March 5, 1972
Winterland Arena

Notable for the "miracle beer" Bobby passes around to launch the song. "Everybody just wet your tongue". Okaaaaaay.
3
Playin' In The Band
Jan. 2, 1972
Winterland Arena

One of the last ones with a clear "The Main Ten" jam in it (around 2:50), namely the primordial ooze that becomes the Playin' we know in a few months.
1
Mexicali Blues
Jan. 2, 1972
Winterland Arena

Fully loaded, hard charger. Tight, uptempo, and jumping.
1
Tennessee Jed
Jan. 2, 1972
Winterland Arena

Clanging twanging banger with just enough grit in the gears, could have gone a bit higher, but tight and right in its way. Underrated show here folks.
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Comments

New Potato Caboose
Jan. 27, 1967
Avalon Ballroom

Between the Human Be-In two weeks earlier and this blisteringly hot announcement to the "scene" the Dead seemed to go from pop psychedelica to the Danger Dead, with a swaggering, no prisoners, no bullshit muscle behind their prankster games. The sound quality here leaves some to be desired, and it fades out into VLB, but it's more than worth a listen. It'll steal your freakin' face, is what it'll do.
Viola Lee Blues
Jan. 27, 1967
Avalon Ballroom

By far the furthest jam and meltdown on any Viola thus far in the recorded history. The tape speed is a bit dubious, but the jam is an absolute must.
Good Morning Little Schoolgirl
Jan. 14, 1967
Polo Field, Golden Gate Park

Unmistakeably Charles Lloyd. Pretty hot flute, but he's no Pigpen on the rap.
Morning Dew
Jan. 14, 1967
Polo Field, Golden Gate Park

Until further notice, this is the first one. I admit it sounds pretty polished and full of gong, but who cares! It's brilliant, Jerry's vocals are sweet, and the jam has all the power of the Dew we know. Love it.
Dancin' in the Streets
Dec. 1, 1966
Studio demo

Jerry's tone and ideas - he chordal jamming as opposed to his single-note lines - remind me of the work that he did with Jefferson Airplane at right about this time while recording Surrealistic Pillow. Plus, and it's a big plus, this jam goes into a whole different place from the others of the time. For a bit it's a whirling Dervish or Algerian Nouba sound before Bobby cuts back in with the vocals, then a four-on-the-floor outro. Great stuff.
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