This mix presents approximately half of the sounds made by The Grateful Dead during the “Drums > Space” segment of their final show.
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This mix presents approximately half of the sounds made by The Grateful Dead during the “Drums > Space” segment of their final show.
Cover: Detail of a Peter Max painting
Note on this version (V3). I adjusted the mix twice in the 24 hours after I first posted it. If you've got a version that doesn't have the performances of "Lazy River Road" and "So Many Roads" noted by date in the song list, below, you've got V1 or V2. V3 also includes some more volume fine-tuning.
This is the third, completely different, fake album I’ve pulled out of the available soundboard recordings of The Grateful Dead’s March 1994 performances. I think this was a good month.
Going in an another direction entirely, this curation plucks performances of new compositions that never had a chance to make it onto a studio album. They played all their late period songs at least once in March 1994, except for one that had been retired and three that had yet to debut:
It’s weird to me that The Dead have never released something that rolls up most or all of the new compositions of the final years. (The closest they've come is putting six of these compositions on the final disc of "So Many Roads.") It would be a really good album, making a trio with “In the Dark” and “Built to Last.” Such a release seems like low-hanging commercial fruit and something that history requires. I’m sure I’m not the first person to present an amateur substitute. The only major flaw here is Garcia's vocal uncertainty on "So Many Roads." Otherwise, these seem like good benchmarks for all the other songs, until even better versions pop up. Thanks again, March 1994!
This mix curates pieces of “Drums” and “Space” from the same March 1994 shows I surveyed to create this “Dark Star Flashes” mix, which combined the final two performances of “Dark Star” with other jamming from the same month. (Included shows are March 16, 18, 21, 23, 30, 31 - 1994.)
The 13 Drums/Space pieces I liked are presented here as discrete tracks (3 to 6 minutes each), with no editing other than choosing start and fade points and some volume adjustments. I was looking for pieces of music that could stand alone. It’s a snapshot “Infrared Roses” from later in the 1990s, which finds the band tilting toward a chill ambience.
Once again, I’m very impressed by this 1994 Grateful Dead. There’s a whole lot of getting there in “Drums > Space” segments – but when The Dead do find their way to somewhere, they know it, and these are some of the cool splaces they found in March 1994. I believe we have Bob Bralove to thank for many of the interesting sounds that the musicians are making here (and elsewhere in the '90s). I'm grateful that The Dead were given a sonic platform on which they could be a Brian Eno-esque jam band. You get only the merest hints of such a thing in earlier decades.
55-minute mp3 mix here (titles of files include source dates)
As The Grateful Dead took only 30 trips around the sun, five years is a pretty long time. After Brent Mydland died, Bruce Hornsby and Vince Welnick both played keyboards for The Dead for a year and a half, then Hornsby returned to his solo career, and Welnick carried on alone until the end.
This whole period seems to be treated like a step-child in fan and official appreciations of The Dead’s live music. I certainly had that attitude until very recently. I saw both of these keyboard configurations back in the day, but isolated shows only tell you so much, and since popular opinion reinforced my sense of decline, I never bothered to pursue recordings of this period’s shows. Phil Lesh commenting that the band should have quit a few years earlier than death forced a conclusion didn’t help.
Sure, there were various forms of decline, but they didn’t degrade the band’s performances in some kind of day-by-day way. This was still The Grateful Dead, six extremely talented, grown-up musicians, making music within a long, mutating, intuitive collective sensibility, who played together under the pressure of hundreds of lengthy concerts, in front of millions of audience members.
Welnick Dead could be amazing – executing songs or jamming. It contrasts with Mydland Dead by being less busy and less thunderous. The climactic Mydland years could sound like everyone soloing at once – one big, loud, shiny machine of music. Welnick Dead seems to have more negative space, and to offer more glimpses of the "jazzy combo" Dead of earlier days. Things can bubble slowly. Momentum can be built on delicate rather than forceful terms. There's more room for just the right note or chord to have the desired effect. Both keyboardists seem more drawn to jazz harmonies than Mydland, and neither tries to be as continuous a dominant element in the music as Mydland – but the choices they make are still very much shapers of the songs. And maybe it's just the era's mixes, but on much of the material I've selected for this blog, the drummers seem to be working to be a single, unobtrusive percussionist, rather than the leaders of a herd of elephants.
I raise my glass to Vince Welnick and Bruce Hornsby. Thank you for giving us another Grateful Dead that could be as compelling as any of them. Respect.
Cover: Kiki Smith, "Bird with Stars," 1954, MoMA collection.
Vince Welnick-era Grateful Dead continues to delight me. I’ve been looking for a definitive “Way to Go Home,” and I think I may have found it in this show – as part of a nearly perfect second set, captured by a superb soundboard mix/recording.
The set list has no filler, the playing is tight and nuanced, and everyone is singing well. All I have deleted is “Drums > Space” and one verse/chorus of “Here Comes Sunshine” that Garcia thoroughly mangled/mumbled. Otherwise, it’s every minute of the second set, plus encore, in the order played.
This is the second performance of the resurrected “Here Comes Sunshine,” which had been missing since February 1974, nearly 20 years. The discipline of rehearsals is still in effect, putting the vocals in a satisfactory place, and its whole trajectory is quite structured and exciting.
This was the third show in a five-show run at the Oakland Coliseum Arena, after which they took a break until late January 1993. There are only two official releases of live 1992 Dead, one of which is the entire fourth show and part of the fifth show from this Oakland run. That was “Dick’s Picks” #27, released in 2003. The other release is 3/20/92, included in “30 Trips Around the Sun,” released in 2015.
Cover by Saul Steinberg.
A lot of The Grateful Dead mixes that get posted here start with some specific curiosity: shows with horn players, the final “Dark Stars,” Keith “Shakedowns,” “Sevens, Main Tens, and Elevens,” a month someone said was hot, etc.
I’ve been poking around the Welnick years lately, and this mix came out of my interest in the sequence of “Here Comes Sunshine” followed by “Way to Go Home.” I really like “Way to Go Home,” and there’s a natural affinity between the two, given the way The Dead played “Sunshine” in this period. They played the pairing four times (’92, ’93, 2x’95). They never jammed a connection, but the 1992 one has a nice little hinge, and this one has an instrumental noodle in between that serves as both a coda to “Sunshine” and a walk-up to “Long Way.” This is a very good "Long Way," though the mix blunts it somewhat.
Beyond that material, it was the jamming and not the songs/singing that cooked that night. “Terrapin” reverted almost immediately back to a “Playin’” jam after the final vocal section, so this seemed like a good time to try an instrumental “Terrapin.” It’s a tough edit to get from the instrumental break to the final jam, but what the hell. The jamming on both sides of "Terrapin" is superb.
Anyhow, here’s another check-in with 1993 Dead that reassures you that more listening will be rewarded.
Let’s pretend that the music Bob Dylan recorded circa 1970 had resulted in a series of different albums than the ones we got. In the real world, those recordings are smeared all over the place: Self-Portrait, New Morning, Dylan, Greatest Hits Vol. 2, vault releases, and bootlegs. The point of this curation is not to include everything, but to finally give persuasive form to a period that remains blurry (based on commercial releases) and that is often derided as a low point. I consider it a high point, even at its weirdest points. This is my case, via four imaginary albums.
Volume 4: Nashville Hangover
This is the very belated final volume of my four-mix set. Unlike the other three, it doesn’t feature a new-for-1970 Dylan, so I decided not to post it, unless someone actually asked me to. Then several people did, and I apologize for taking so long to do it. For everyone else, for god’s sake, start with the other three!
There is at least as much vocal ambition and range in Dylan’s 1969-1971 singing as in any earlier year-and-a-half period. After perfecting the 1965-1966 Dylan, 1967 starts a period of dismantling that guy, including his epoch-making vocal approach. The naked playfulness of The Basement Tapes, the sustained voice from the grave of “John Wesley Harding,” the sweet crooner of “Nashville Skyline” – they’re all self-portraits that contrast with that Highway 61 pill-box hat guy and the punk rock singer of the 1966 tour’s electric set.
The first two compilations I posted (“The Morning After” and “To Woody”) capture the place I think that experimentation and disavowal circled back to – the natural sounding, but widely-ranging Dylan voice(s) of 1970-1971. It’s an iconic Dylan voice, corresponding to that curly-haired, denim-clad, spotlight-haloed guy on the cover of “Greatest Hits Volume 2.”
My third volume (“The Boxer”) and this one here (“Nashville Hangover”) capture the recordings that are, vocally-speaking, “less Dylan.” In the case of the present disc, it’s (nearly) every proper studio recording in that sweet Nashville voice that wasn’t on the puny, 27-minute “Nashville Skyline.”
Alone of the four sets, this one reaches back to 1969 “Nashville Skyline” sessions for material, but it seemed worthwhile to bundle that in with the “Self Portrait” material in the same voice.
Cover: Treated scan of thrift store photo
My sudden fascination with the post-Mydland years continues with a mix pulled from the period when Bruce Hornsby and Vince Welnick both played keyboards for The Grateful Dead. That period lasted a relatively long time, from September 1990 to March 1992, making it as distinctive an episode in band membership/chemistry as any other.
I’ve combined pieces of three unreleased shows from a six-show September run in Boston, MA, one year into the two-keyboard lineup. I used matching matrix recordings as my sources (audience/soundboard hybrids), which offer a fat, immersive live experience. I haven’t made any internal edits in the material presented here, but I created cross-fades to make it sound approximately like two continuous sets.
The mix of compositions that ended up on top, when I put pressure on these shows, has a definite personality – mostly Garcia-sung blues-boogies and sepia-toned character dramas. The "Workingman's Dead"/"American Beauty" Revisited vibe of this music is unintentional, but refreshing – a reminder that there were always several Grateful Deads lurking in the hodgepodge of material they played on any given night. When you isolate one of them, you experience a show, a year, and/or a lineup differently than when you listen to whole shows.
The two keyboardists lend texture, color, and exciting rushes to these old songs, and "Stella Blue" seems particularly excellent to me. I think that both those keyboardists were paying attention to the lyrics, and playing accordingly, and since Garcia is singing well (except for "New Speedway"), many of these performances really sell the songs.
By accident, there are some statistically significant performances in this mix:
2h21m mp3 mix of September 22, 24, and 26, 1991 here (song title tags include performance dates)
Cover: “Full Stop,” John Latham, 1961
The last two “Dark Stars” The Grateful Dead played occurred within two weeks of each other, six months after the previous performance, and 1.3 years before the end of the band. On the calendar of career “Dark Stars," they draw attention to themselves.
I honestly had no idea how great The Dead could be in this period, when the spirit of jammy exploration moved them. I like how laid back they are in these performances, which are simultaneously drifting and full of momentum. Thumbs up to this Grateful Dead.
52-minute mp3 mix here, which flows approximately like a continuous set.
I’ve posted another 1993-1994 mix, which includes the “Dark Star” before these two, with David Murray on sax.
Cover: Detail from “Dream No. 2” (1989) – Candy Jernigan
This mix combines pieces of unreleased 1993-1994 Grateful Dead concerts that featured saxophonists Ornette Coleman, Branford Marsalis, and David Murray, plus all appearances by word jazz great Ken Nordine. I've created connections where they were missing to simulate a continuous set.
If it weren’t for the obligations entailed by the concept of the “30 Trips Around the Sun” boxed set, The Dead’s final four calendar years of playing live (1992-1995) would hardly exist in the official release catalog.
This is a disservice to the music and to the band’s fans - and seemingly the result of The Dead’s commitment to whole-show releases and disinclination to chop shit up and compile great live albums out of their favorite bits.
I don’t know if what I’ve made here constitutes a great live album, but it is certainly a far out live album with a lot of greatness in it. Since nothing else is competing for the spot, you might even consider this mix as a provisional career bookend to “Live Dead,” 1969’s official live document of the first year of truly far out Dead. Here they are, freaking out with jazz musicians a quarter of a century later. There were only two more "Dark Stars" after this one.
I'd dedicate this mix to my dad, who immersed me in jazz and Ken Nordine from birth, but this would all probably be too post-bop/fusion/crazy for him. So, I'll dedicate it instead to 1967-1969 Frank Zappa (composer/editor) and Ian Underwood (Zappa's always game reed man in the early days). They might decry the lack of discipline, but I think that they would appreciate the overall effect. Murray's playing has some very Underwood-ish moments. It should be noted that Vince Welnick acquits himself beautifully all over the place.
93-minute mp3 mix here (all guests and source dates included in song title tags)