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The IA recommends users of Windows XP view this web-page with RealPlayer. Here's one way to stream/download this show: Windows Media Player has a 10 band EQ and SRS WOW effects that enhance the sound. I recommend using your EQ during playback of most of the shows on the IA, this one included. How often did Jerome sing and play the "Ballad of Casey Jones"? Nothing like a bunch of sinners singing Gospel. Too bad many of the fans of the GRATEFUL DEAD despise Christianity. It probably would have offened most fans of the GRATEFUL DEAD if they released a GOSPEL album of their favorite CHRISTIAN GOSPEL TUNES.this live show is as close as we are going to get. Here the GRATEFUL DEAD demonstrate their love for CHRISTIAN GOSPEL Music. Why does anyone need two drummers for acoustic GOSPEL music anyway?Īmazing sound from such a primitive time for "live recordings". Which raises the question can you keep time on LSD?
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This version is a little hissier than the other version, but it doesn't have the lame ass drum track in the right channel, which always sounded like some moron tried mix their playing along with the DEAD but didn't know how to play the drums. Some of Garcia's verses are warm, legendary, and sentimental, others ice-cold, grim, and haunting, all accompanied by twisting guitars and fantastic backwoods instrumentation that would have the very ghosts of the genre's inventors tipping their GRATEFUL DEAD from the summer of 70'.ĭoesn't sound like Mickey is playing, thank GOD. It's tough to cherry-pick highlights here since the whole show is just gorgeous, but I think the Ballad of Casey Jones truly demonstrates the greatness that they were capable of with a couple of acoustics. I love the religious numbers, folk covers, and Workingman's/American Beauty-era material. Speaking of New Riders, an earlier reviewer gives us attendee confirmation that the mandolinist here is David Nelson, who played this kind of music with Garcia in the early 60's, giving the show even more of that reminiscent old-timey feel. His style is a little more "diagonal" than Kreutzmann's, and unless the song calls for it he's not as heavy on the snare, not to mention his status as a New Rider and his presumed presence at the kit for similar California acoustic shows, 4/18/70 and 7/30/70. Phil lends a pinch of carefully restrained bass, which is just enough to give the show more mass than you'll find in some of the acoustic sets from earlier in '70 that featured just Jerry and Bob. From the moment you hit play, you're immersed in dusty tape hiss, intoxicating strumming, silky cymbals, and country-tinged vocal harmonization. Name=' definitive showpiece of rustic 1970 acoustic Grateful Dead.
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