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Rolling Stone lists 2. Grateful Dead live shows every Deadhead must own. Choosing and justifying a list of essential Grateful Dead shows – 2. Passionate challenge from fans, especially hardcore Deadheads and veteran tape traders, is guaranteed. Endless debate over set- list minutiae is inevitable. In fact, there is only one definitive list of the Dead\'s greatest concerts – and it includes every show they played, in every lineup, from their pizza- parlor- gig days as the Warlocks in 1. Jerry Garcia\'s death in 1. That long, strange trip was a continually unfolding tale of highs and trials, dedicated evolution and surrender to the moment, often caught vividly in the recording studio but told most immediately each night (or day) onstage. This list jumps and dances through the story, but it\'s not a bad place to start, if you\'re not in deep already: more than 4. These 2. 0 shows are genuinely essential in at least one way: If I had no other live Dead in my collection, I would be happy and fulfilled with this. Luckily, there is more. I already have lots of it. I will never have enough. The Matrix, San Francisco. December 1st, 1. 96. In late 1. 96. 6, more than a year into their evolution, the Grateful Dead were still in the early stages of their psychedelia: an acid- dance band with bar- band aggression, tripping in its jams but just starting to write and largely reliant on folk and blues covers. These three sets at the Matrix – a club founded by Jefferson Airplane\'s Marty Balin – catch the original quintet in primal, exuberant form, slipping early originals such as . The long, strange trip was under way. Grateful Dead\'s First Decade Captured in New Photo Memior. Winterland, San Francisco. March 1. 8th, 1. 96. Warner Bros. Records released the Dead\'s debut album, The Grateful Dead – a sonically brittle, high- speed version of the group\'s stage act and songbook – on March 1. That evening and again on the 1. Dead opened for Chuck Berry at Winterland, performing much of that record\'s material on the second night with more natural vigor and plenty of room for Garcia to go long and bright on lead guitar.
Bob Hope biography, pictures, credits,quotes and more. Legendary entertainer Bob Hope was born in Eltham, London, England the. Dead definition, no longer living. Enjoy streaming Grateful Dead, Ratdog, Jerry Garcia Band, Phil and Friends, Furthur (and more) 24/7! His fusion of folk guitar and bluegrass facility with blues language and Indian modality, shot forward in a clean, stinging treble, is on dynamic display in a rightly extended . Also note the thrilling, slippery surge underneath – bassist Phil Lesh and drummer Bill Kreutzmann pushing and tugging at the beat – as Garcia affirms his nickname, . Lesh thought enough of this night\'s 3. Wilson Pickett\'s . The accelerating instrumental break is a glorious connected fury – five voices racing in parallel but jamming as one. The long, early roll on . Elements of this show – the official opening of the Carousel, a collective attempt by the Dead and other local bands to mount an alternative to the Fillmore\'s dominance – were used on Anthem; the show was also broadcast live on the radio and officially issued, at last, in 2. Road Trips Vol. It is basically Anthem as it happened every night, on the way to vinyl. The weightless rapture of . The first set opens with two songs that would appear on that album: the outlaw ballad . Add a hellbent second set (starting with the choppy cheer of Aoxomoxoa\'s . The unplugged set in Dallas opens with a song from the Mother Mc. Cree days – . The psychedelic- ballroom era is still here in . Guitar nirvana arrived early, when Duane Allman and Fleetwood Mac\'s Peter Green joined the band on the 1. But the three- set late show on the 1. A winding passage through another . Performance was their primary form of expression and sharing. In taking their version of the San Francisco experience on the road, . This show is routinely cited as one of the Dead\'s best – ever. The acoustic set – a warm, beguiling preview of the country and pathos on the imminent Workingman\'s Dead and . Get the whole night, across three discs, on Dick\'s Picks, Volume Eight. Capitol Theatre, Port Chester, New York. February 1. 9th, 1. The dead\'s fabled six- night stand at this small hall, a short train ride north of New York City, opened with great promise and unexpected trial. On February 1. 8th, the group debuted five new songs, all destined for permanent high rotation: . The group responded to the loss the following night (issued in 2. Three From the Vault) with determination, opening with a vigorous . That March and April, the Dead would record the shows featured on their Top 3. Grateful Dead, a. This show is a delightful example of that salesmanship held in close quarters: a college cafeteria. The material goes back to the first LP and thoroughly covers the reinvented Americana initiated on Workingman\'s Dead before the Dead unleash a climactic blast of Fillmore dance- floor action: a nonstop set of spirals and slaloms that starts with . Nothing here made it to the triple LP Europe \'7. But the performance – included in the sold- out 2. Europe \'7. 2 box and available separately – is solidly transcendent: a characteristic good time at a true peak in the Dead\'s concert history. It could be your next favorite Dead gig. Bickershaw Festival, Wigan, England. May 7th, 1. 97. 2This was a day made for . The Dead did not play that song during this legendary near- four- hour appearance. Instead, the group, halfway through its European tour, gave the huddled masses at Bickershaw something more heated and unforgettable: the \'6. Mc. Kernan, in particular, was in defiantly strong and comic vocal form. It was one of his last performances. The singer- organist, suffering from liver disease, played his final show with the Dead a month later in Los Angeles, and died in March 1. He was 2. 7. Civic Center, Philadelphia August 5th, 1. The dead played two concerts in this cavernous arena on August 4th and 5th. I worked at both of them, as part of the security team. My station was in the left- side bleachers, near the stage – the press section, where I spent a lot of time talking to Deadheads without passes who told me, . Choosing one of these two dates is tough. The second set on the 4th has a full rendering of the pensive- to- . I\'ve gone with the next night, for the prolonged elevation in . Alas, the live intermission performance of Seastones, Lesh\'s electronic collaboration with Ned Lagin, is not. Great American Music Hall, San Francisco. August 1. 3th, 1. Exhausted by the logistical and financial strains of touring with the Wall of Sound, the Dead stayed away from the road in 1. This was one: an intimate record- release party for Blues for Allah, one of the Dead\'s best studio LPs. Their pride in the new music and the healthy effect of their break from the grind are evident in the relaxed, textured swing of this performance. The contagious gait and sparkle of . The night, released as One From the Vault, also featured a buoyant . The Dead never played that one live, in full, again. The Beacon was the third stop on the tour. This concert was the first of two there, and the recording from that generously long night confirms the relief and satisfaction I felt a week later, when I saw one of the band\'s four shows at the Tower Theater in Philadelphia. The Dead were rested and rejuvenated, already playing with an excited momentum and clarity that would carry into the nightly perfection of their spring \'7. Weir and Donna Godchaux harmonize in easy, bracing formation across Kreutzmann and Hart\'s polyrhythmic carpet; Keith Godchaux laces the twin- guitar rain with gracefully executed saloon- piano flourishes. In the second set, Garcia sings the reflective irony of . Another golden era was under way. Winterland, San Francisco. June 9th, 1. 97. 7For sublime singing, instrumental union and sequencing bravado, there may be no greater sustained run of shows, certainly in the Keith- and- Donna years, than the Dead\'s spring \'7. Highlights are plentiful: Five concerts from one week in late May have come out on archival releases, and the May 8th show at Cornell University in Ithaca, New York, is often cited in greatest- ever terms. But I keep coming back to this valedictory blast on home ground – the end of a three- night stand and the final gig of the tour – because of the second set. It has the jagged acid- flavored reggae of . There was new blood: keyboard player Brent Mydland. But Garcia was in perilous health, and studio recording lapsed after 1. Go to Heaven. There was a Top 1. But that success brought an explosion in numbers on the road, overwhelming the parking- lot scene and the dedicated pilgrims following the band from town to town. Through it all, the Dead toured as if their survival depended on it – which it always did – and played fondly remembered gigs, often off the beaten track. After a summer of amphitheater dates, the band sounds cozy here, loose and swinging indoors, especially at quicker tempos. Mydland plays a brawny organ solo, evoking the Hammond- jazz master Jimmy Smith, in the cover of the Rolling Stones hit . They start with a wry laugh over their improbable, complicating success, plunging into . The baroque drama of . The Dead\'s spell as pop stars would soon be an anomalous memory; they kept playing like it never happened. Hampton Coliseum, Hampton, Virginia October 9th, 1. You didn\'t need an advanced degree in Dead lore to decode the name on the tickets for the two \'8. The group was billed as . Hampton Coliseum was a favorite East Coast stop for the Dead at the time – they performed there 2. The Dead were about to release what would turn out to be their last studio album, the ironically named Built to Last, and they played the title track in the first set on the 9th along with a Brent Mydland showcase, . The second Hampton show, issued with October 8th in the 2. Formerly the Warlocks, is most notable for the return of . The group\'s six- city, 1. East Coast trip (with a stop in Canada) in March and April of 1. Weir remembered it years later as . We were hot, feeling our oats and surprising ourselves onstage.
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