I also egerly awaited every Dick's Pick's release, and bought every one. Especially since these are limited releases and only available through dead. Generally, I agree with most, but not all, of your assessments. The top section of this page lists the Dave's Picks volumes in the order released. Looking back at this it seems that the case that holds the 22 Europe '72 concerts is the rare piece and the music is available en mass. Despite the lack of Seastones, this should be a spectacular release. Don't know, it's hard to listen to it all the way thru, so I quess to surport the Round Records lable.
This concert contains deep explorations injected with a mellow space jazz vibe. But this reminds me of something I've wondered about for a while. On a separate note, there was a blurb in Rolling Stone a few months ago about another box set project coming from Rhino this year. As the music gets lodged between clouds, Lesh becomes ornery and Keith Godchaux answers in glistening erratic piano runs. The number of boxes made was 10,000. A short space develops where the band regroups momentary, only to reemerge a gurgling and rumbling mess, rising like subterranean earth bubbles, breaking the surface in a blast of heat and organic materials.
No doubt it's something akin to being on stage with the band hearing the music, otherwise surrounding by equally resounding quiet and it sounds all the more vivid imagined in the open air and bright sunshine of the digi-pak foldout photo. Maybe Dave will hone in on this idea next time. I wish I could find better ones, the sleeves I found for Road Trips fit perfectly and are a higher quality cello. I always wondered about the royalties being paid out to Ned and if the relationship has somehow been damaged. Why some tend to take releases as a personal affront, I have no idea, but that's how the internet works. The crowd is obviously pleased and satisfied.
The streaky groove moves on brisk bell cymbal hits, becoming something much greater than itself when Godchaux hops on electric piano, leading the band and nudging Garcia up and over a series of hilly melodic licks. What is also noteworthy is that this the beginning of the 'Wall of Sound' tour, with the band dragging along the monolith sound system which would turn their sonic dreams and creations into tangible reality. The 'Playin In the Band' signals the conclusion of a loose and well played full band display for set one. Plus bonus material from the January 24, 1970 show. It's excellent and thank you for releasing this show. And sure enough, Volume 1 is a goner.
The boiling point has been breached, the band is a slithering organism, shapeless, shifting through various alien musical landscapes. The limited edition consists of 12,000 numbered copies. Around nine and a half minutes the entire band jumps into a tree lined ravine, into a tangle of brush and blow down, their form only visible through cutouts in the forest landscape, only then to disappear into a haze of mist. Yes, the series is heavy on 74, but out of the other 74 releases this shall be my favorite. I try to go back and revisit even releases that I wasn't thrilled about once in a while for that reason. This thread is in two parts. Where are we going next, Dave? Not only is the marketing thereby misleading, but the musical judgment is distasteful: things like seastones are part of the Dead's most interesting legacy musically, and to treat seastones as if it were an appendix or appendage is aesthetically perverted.
This enters a 'Goin Down the Road Feeling Bad' that goes pedal to the medal for the distance. I tend to think that something is on the way. They are posted here for educational and promotional purposes only. The Wall of Sound was placed behind the musicians so they were able to create their own mix. I really have no idea about this relationship and what is up with Ned Lagin these days but I think something would had to have been worked out for Ned to receive royalties unless he gave them away for Seastones to have been included. Seems it would have been an ideal opportunity to offer Seastones up to only series subscribers by putting it on the bonus disc. Seastones is not the Grateful Dead, it is Phil and Ned.
But, in perfect Grateful Dead fashion, the band had more energy left and it would have been a shame to waste it. Love the music and, to various degrees, the packaging and protecting these limited releases is important. As a result, different quality sound recordings are part of the Grateful Dead listening experience. All that said, it should come as no surprise that, with the exception of the epochal year of 1972, more archive titles have emanated from 1974 than any other single year of the Grateful Dead's career. But then I actually listened to it. The band kicks off the evening with a terrific first set. Can't find that link right now.
It was also the last time the band toured with the mammoth Wall of Sound. But hot Chuck Berry songs and Bee Gees teases do not a great show make, and this is not a great show. One of those avenues was their immense Wall of Sound which dominated all of their 1974 shows and had been on display in various forms throughout 1973. This concert finds the band in a exploratory and pensive mood that not only changes their approach to the music, but finds them listening to one another even more intently than usual. It makes sense now why the Dead movie is so great! The first set opens kinetically with a high speed and emphatically sung 'Bertha', breezy and loose like a screen door swinging unlatched in the breeze. I wound up having to rebuy that one, but luckily it wasn't a limited release. Lesh takes charge with deep strikes, initiating the next series of jams starting at twenty one minutes.