tag:saveyourface.posthaven.com,2013:/posts Save Your Face 2020-10-25T03:04:53Z John Hilgart @4CPcomics tag:saveyourface.posthaven.com,2013:Post/1608003 2020-10-24T16:48:18Z 2020-10-25T03:04:53Z Grateful Dead: Solo, Duo, and Trio (11/12/72 - Kansas City)

This is a much-expanded revision of highlights from this show.

The bizarre soundboard mix of this late ’72 Dead tape reduces the band to a trio of Garcia, Weir, and Lesh. Drums and keyboards are almost totally absent. Vocals are very faint, nearly silent in one channel. 

The channel mix changes over the course of the show. At some times, all that’s in one channel is Garcia’s guitar. At others, it’s Garcia and Weir’s guitars, alone together. Crazy, frustrating, sound board mixes abound in late ’72 – which is tragic – but this 11/12/72 Kansas tape is a beautiful gift.

Garcia can create an entire, mesmerizing musical narrative all by himself. You know that the rest of the band is laying down the landscape for his story, but he nonetheless seems so calm and delicate, like he already knows where things are headed. Notes and runs that are incendiary in the context of the whole band's performance aren't played bombastically.

"It was around 1972 or '73 when I finally unlearned all the things that had hung me up to that point.”  (Garcia, 1978, Guitar Player Now, source @jerrygarcia)

Meanwhile, the intricate, twining Garcia/Weir duos are a spectacular window into their guitarist mind-meld. I find the “NFA > GDTRFB > NFA” to be particularly wonderful.

This expanded mix pulls everything from the show’s “isolation channel” that I found really compelling, resulting in mono mix downs. 

I have also included the stereo trio edits of the “Bird Song” and “Playin’” jams. It is quite astonishing to play either song as a Garcia guitar solo, followed immediately by the Garcia/Weir/Lesh mix – which seems whole and giant – and then to realize you’re still missing the keyboards and drums. 

I have shortened many of the tracks to edit out stretches where nothing interesting is happening, which is typically where you become very aware that you are listening to an incomplete mix. Often this meant cutting out all the places where vocals should be (and faintly are), but I let the guitars lead my edit choices, so phantom vocals appear here and there.

Several isolation tracks (one channel, full song) made it through unedited, even though you’ll supply the rest of the song in your head: solo Garcia-only “Box of Rain” and “Playin’,” and Garcia/Weir “Friend of the Devil.”

100-minute mp3 mix zipped up here

Disc One: Solo and Duo (71 minutes)

  • Bird Song Edit (Garcia)
  • Stella Blue Solo (Garcia)
  • Box of Rain (Garcia)
  • Friend of the Devil (Garcia, Weir)
  • He’s Gone Edit (Garcia, Weir)
  • Not Fade Away > Goin’ Down the Road > Not Fade Away Edit (Garcia, Weir)
  • Big River Edit (Garcia, Weir)
  • Truckin’ Edit (Garcia)
  • Playin’ in the Band (Garcia)

Disc Two: Trio (30 minutes)

  • Playin’ Jam Edit (Garcia, Weir, Lesh)
  • Bird Song Edit (Garcia, Weir, Lesh)
  • Train on Cocaine (Garcia)
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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1605670 2020-10-18T19:59:57Z 2020-10-24T16:49:42Z Grateful Dead: Solo & Trio Improvisation (11/12/72 - Kansas City)

THIS MIX HAS BEEN REPLACED with a much-expanded version >>> GO HERE

The bizarre soundboard mix of this late ’72 Dead show reduces the band to a trio – Lesh and Weir on the left and Garcia alone on the right. Drums and keyboards are almost totally absent. Very faint vocals bleed into both channels.

Crazy, frustrating, sound board mixes abound in late ’72 – which is tragic – but the 11/12/72 Kansas tape is a beautiful gift.

The tape is both fascinating and pleasurable (archive.org), and someone has posted a version on YouTube of just Garcia’s guitar for the whole show. 

This post’s mixtape presents the show’s “Bird Song” and “Playin’ in the Band” in both trio and Garcia-only edits. These are the spots that utterly transcend the wrongness of the mix and are simply great.

The most remarkable thing is Garcia alone; you need no more than his guitar for a complete musical experience.

"It was around 1972 or '73 when I finally unlearned all the things that had hung me up to that point.”  (Garcia, 1978, Guitar Player Now, source @jerrygarcia)

The Garcia/Lesh/Weir trio is also a sublime, complete experience – with no “middle ground” from Keith, and the drums stripped away like a click track, once its work is done. 

  • Bird Song Instrumental Edit (Garcia only)
  • Playin’ in the Band (whole song, Garcia only)
  • Bird Song Instrumental Edit (Garcia, Lesh, Weir)
  • Playin’ Jam Edit (Garcia, Lesh, Weir)
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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1604855 2020-10-15T22:42:24Z 2020-10-21T00:54:06Z Grateful Dead: December ’72 Improvisation (Dec. 10, 11, 15)

This mix pulls together Grateful Dead improv from a little cluster of unreleased California shows that the band played in the middle of December 1972 – three at Winterland and one in Long Beach. These shows followed a two-week break, and the band’s next show would be two weeks later, on New Years Eve. (Highlights from that NYE show are here.) Following 12/31/72, they’d play a 2/9/73 CA show, then start a Midwest tour on 2/15/73. So, these performances are a bit of an island in the performance history.

I’m always reluctant to assert anything about how any Grateful Dead month might be different from the one that preceded or followed. Nonetheless… I want to say that the (probably) unrehearsed Dead of mid-December 1972 is venturing deeper into multiple-chapter open spaces than in the earlier Fall. They anticipate the great New Years Eve “Other One,” which was broken up with three jams that weren’t “The Other One.” It’s hard to say that February 1973 is lurking in December 1972. This still seems to be 1972 reaching its 1974-ish, dissolving/opening conclusion. However, on 12/12/72, Phil played his 1973 “Eyes” jam riff for perhaps the first time – a bonus track at the end of the third disc of this mix.

I’ve almost entirely omitted material from the third Winterland show (11/12), because Phil Lesh’s bass is nearly inaudible. I nonetheless recommend checking out that show's “Other One” and the material surrounding it. It’s clearly a hot performance, and the bass-free mix is thrilling in a weird way, but it’s not really a proper Grateful Dead experience. I also skipped the 12/11 "Playin'," which seemed mundane, compared to the two I included.

I preserved every long improv sequence from the three shows featured on the mix, with the exception of the 12/10 “Other One.” The source SBD tape has a brutal gap in it, possibly the length of a lazy tape flip. I decided to trim out some material after that gap, so the flow would pick up with a fresh, distinct passage.

Three-hour mp3 mixtape zipped up here

Disc One: Winterland 12/10 (59 minutes)

  • China Cat Sunflower > I Know You Rider
  • Truckin’
  • The Other One >
  • Jam/ (fade at SBD gap)
  • Jam > 
  • The Other One
  • Playin’ Jam

Disc Two: Winterland 12/11 (42 minutes)

  • Dark Star >
  • Jam >
  • Dark Star >
  • Space/Feedback >
  • Chaotic Jazz Jam >
  • Stella Blue

Disc Three: Long Beach 12/15 & bonus tracks (71 minutes)

  • Playin’ Jam
  • He’s Gone Jam
  • Jam >
  • Dark Star >
  • Keith Vs. Chaos Jam >
  • Morning Dew
  • Sing Me Back Home (12/12)
  • Bass & Drums > Eyes Jam Riff (12/12)

Cover image: Rene Magritte, "The Lost Jockey"

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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1603772 2020-10-12T22:11:29Z 2020-10-23T03:28:24Z Grateful Dead: Texas ’72 Improvisation (November 22-26)

This mix compiles highlights from the three November 1972 Texas shows that followed the more familiar Hofheinz Pavilion shows in Houston, on 11/18 and 11/19.

Most of the 11/18 Houston show’s second set was released on vinyl, on Record Store Day, in 2014. The 11/19 Houston performance is a famous show and an important cassette from back in the day, though still unreleased. Save Your Face previously posted an mp3 highlights reel of that show.

The three shows sampled in this mix are Austin (11/22), Dallas (11/24), and San Antonio (11/26). The soundboards of all three shows have mix/sonics problems. However, nearly all of the big improvisational performances shine through those issues without difficulty, and this highlight reel focusses on that deep material. 

Fall 1972 was a great period for tight-but-adventurous Dead improvisation, and this mix seeks to make more material from dodgy mixes of unreleased shows thoroughly enjoyable. 

mp3 mixtape zipped up here

Disc One: Austin (73 minutes)

  • China Cat Sunflower > I Know You Rider
  • Bird Song
  • Playin’ Jam
  • He’s Gone
  • The Other One >
  • Jam >
  • The Other One
  • Stella Blue

Disc Two: Dallas & San Antonio (72 minutes)

  • Dark Star >
  • Bass Solo > Feelin’ Groovy Jam
  • Playin’ Jam
  • Truckin’
  • Not Fade Away > Goin’ Down the Road > Not Fade Away
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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1600592 2020-10-04T22:39:49Z 2020-10-19T18:36:37Z Grateful Dead: Improvising in St. Louis - October 1972

The Dead’s three-night run in St. Louis (October 17-19, 1972) was an improvisational monster, containing great versions of all the big numbers, and much more jamming beyond them, including “The Philo Stomp.”

This mix presents 90 minutes of that improvisation. The three shows’ mixes are quite different, but that difference almost vanishes without vocals. To keep the jam flowing, I’ve edited “He’s Gone,” “Morning Dew,” and the “Playin’ Reprise” into instrumentals. However, the connections (>) between all songs are as-played. 

There’s no official release from October 1972, and the St. Louis shows are the best-mixed of the Midwest tour. So here’s a double-LP for your shelf of the molten core of that moment’s Dead. Everything here is tremendous, but I'm going to call out the "Bird Song" as extra-sublime. Great Keith solo.

92-minute FLAC-derived mp3 mix here

  • Bird Song
  • Playin’ in the Band
  • The Other One >
  • Jam >
  • The Other One > He’s Gone (intro & jam) > The Other One
  • Dark Star (space removed) >
  • Jam > Space > Bass Solo > The Philo Stomp > Feelin’ Groovy Jam >
  • Morning Dew (instr. edit) > Playin’ Reprise (inst. edit)

Caution: Save Your Face previously posted a three-hour highlights reel from these shows, with 90 more minutes of great “regular” songs plucked from the screwy soundboards. Don’t download that. An improved version will go up in the next week or so. This all-jam mix isn’t meant to replace that bigger mix; I just realized how intense pure St. Louis jamming would be and wanted to have that listening option buttoned-up, too.

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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1600149 2020-10-03T18:23:56Z 2020-10-11T08:35:13Z Grateful Dead: Refugees from Spaceports (1994)

When I compiled several mixes of 1994 Drumspace highlights a while back, I ended up with a couple hours of isolated passages that I didn’t include. 

I’ve been playing those outtakes lately, and these nine passages turn out to be great.  

36-minute mp3 mix zipped up here

  • Orbital Stabilization (3/27/94)
  • Core Sample (9/28/94)
  • Ore Mine 1 (9/28/94)
  • Field Recording (3/6/94)
  • Malfunction (4/7/94)
  • Beneath the Surface (10/11/94)
  • Interplanetary Feud (3/6/94)
  • Space Ranch (3/4/94)
  • Ore Mine 2 (3/27/94)
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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1596114 2020-09-20T20:57:45Z 2020-09-23T22:59:35Z Grateful Dead Shortlist: March 17, 1993 (Landover, MD)

There’s a gentle Garcia thread running through this show that I’ve concentrated into 50 minutes. He sings “Lazy River Road,” “Crazy Fingers,” and “Days Between” beautifully, and his guitar leads the band through several contemplative places. The dominant vibe is pretty, but melancholy, and the vocal mix makes it feel like an intimate communication.

This is the 6th from last “Dark Star.” Melodic before and after the verse, it mutates into deranged jazz. After Garcia exits, the rest of the band has a lot of fun with that for another 2.5 minutes.

Space features some beautiful minimalist improvisation, leading to an extremely chill, extended visit to “The Handsome Cabin Boy” – the band’s third and last. 

50-minute mp3 mix zipped up here

  • Lazy River Road
  • Crazy Fingers
  • Dark Star > Jazz Jam
  • Space 1 (Other One “flute” solo) >
  • Space 2 (Getting Handsome) >
  • The Handsome Cabin Boy
  • Days Between
  • Eternity Jam

Edit notes:

  • "Eternity" has been edited to an instrumental. Seemed like the perfect bookend. Mood.
  • The very start of "Dark Star" was rocky (out of a short Playin' jam), but Vince played a decisive "all change" chord, and then everything was in order. It enabled a perfect fake segue from "Crazy Fingers."
  • The end of "Cabin Boy" and the beginning of "Days Between" likewise offered a credible segue. A slight band wobble is more noticeable than the splice. It's almost like this mix wanted to happen.
  • The Space > Space > Cabin Boy sequence is as-is from the source, but it feels like there are tiny gaps. Not intrusive to the listening experience, but annoying if you're me.


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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1595436 2020-09-18T16:17:35Z 2020-10-01T15:47:14Z Grateful Dead: Mystery Jam #2

I find this lesser-known, very short “Dark Star” to be practically perfect in every way.

  • The band spends the first minute assembling the pieces dramatically, before the emergence of the groove. 
  • At 1:25, Garcia begins a chiseled, minimalist approach to his solo, which he picks up again once the verse is over. 
  • The band wraps itself crisply around Garcia’s series of perfect little ideas. The thrilling shift at 2:17 tells me they were really locked in.
  • At the four minute mark, Garcia surprises with a gorgeous new phrase that leads to the completion of the performance’s narrative arc. 

I edited out the verse, so the jam flows uninterrupted.


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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1595242 2020-09-17T22:59:20Z 2020-09-20T22:16:58Z Charlie Christian: “Solo Flight” (edit of both takes)

In February 1941, the Benny Goodman Orchestra recorded two takes of “Solo Flight,” named for the fact that it was a Charlie Christian electric guitar solo showcase. This edit seamlessly combines those takes to offer four minutes of continuous soloing. 

“Solo Flight” wasn’t a particularly adventurous setting for Christian’s playing. Many of his 20-30 second solos on more angular, insect-jazz songs are more instantly mind-blowing. Nonetheless, hearing him invent longer narratives is amazing, and not just for the rarity of it.


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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1595025 2020-09-17T01:01:07Z 2020-09-20T22:17:04Z Charlie Christian: “I Can’t Give You Anything But Love” (extended edit)

Charlie Christian got an extended solo section on this Benny Goodman sextet track (1940), and this edit adds his alternate take solos to the master take. 

Christian’s three solos on the studio recordings add up to 1:45, and the languid vibe of the arrangement during his section made a nearly seamless edit possible, despite the fact that the master take found the overall right rhythm for the song that the alternate takes lacked.

Compared to the anticipating-Chuck-Berry-blartney-blartney of his solos on “Breakfast Feud,” (extended edit here), “I Can’t Give You Anything But Love” finds Christian leaning toward West Coast Jazz.

The edit sequence is the master take up to the point of Christian’s solo > two alternate take solos > master take Christian solo and conclusion.

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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1594765 2020-09-16T05:08:23Z 2020-09-24T23:00:04Z Charlie Christian: “Breakfast Feud” (Extended Edit)

This 6m10s edit of the Benny Goodman sextet’s “Breakfast Feud” (1940-1941) includes the Charlie Christian electric guitar solos from all nine studio takes of the song.

Christian’s tragically short life and the short-solo format (20-30 seconds) of 3-minute jazz songs meant that we only got to hear him stretch out a little bit on the impromptu jam, “Waiting for Benny.” Charlie Christian surviving into the bop and rock eras would have been a thing of wonder, for sure. 

The whopping nine takes of “Breakfast Feud” provide three-and-a-half minutes of lightning Christian solos. Those are edited together here, in the context of the whole performance. 

The establishing take is the first master take, and the concluding one is the next-to-last alternate take - the first an arbitrary choice, the second a random editing outcome.

Six takes feature:

  • Clarinet: Benny Goodman
  • Guitar: Charlie Christian
  • Bass – Artie Bernstein
  • Drums – Harry Jaeger
  • Piano – Ken Kersey
  • Tenor Saxophone – George Auld
  • Trumpet – Cootie Williams

Three takes substitute:

  • Drums – Jo Jones
  • Piano – Count Basie

The piano solo on the edit is Kersey, but I think it’s Basie cackling at the end of the concluding take. The early 1940s small groups kick ass. 

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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1594032 2020-09-14T05:05:35Z 2020-09-18T00:20:46Z Miles Davis: Three from Brazil (1974)

This 45-minute mix compiles three beautiful, surprisingly chill and slinky performances from the Miles Davis band’s concerts in Brazil, in late May and early June of 1974.

At the time, the band’s lineup was a seasoned funk machine that played its songs in startlingly different ways on different nights. Much of the time, they were super-intense, loud, fast, and angular.

These three tracks find the band playing at the other end of the dynamic spectrum – exploring quieter, slower, opener spaces, painting detail on top of grooves that never let you go. The soloists stretch out into sustained, thoughtful, melodic exploration. The rhythm section makes small moves that have a large impact. And when the giant funk hits, it’s a genuine climax. 

45-minute mp3 mix zipped up here

  • For Dave (5/25/74, Rio) (14:34)
  • Unknown Original 740419 (6/2/74, São Paulo) (15:04)
  • Ife (5/28/74, São Paulo) (15:25)
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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1590150 2020-09-02T23:56:06Z 2020-09-10T16:32:41Z Miles Davis: Tokyo ’73 Compressed

This mix presents an edited version of the Miles Davis band’s fantastic performance in Tokyo, on June 19th, 1973. The mix (for an FM broadcast) is possibly the best from 1973.

Though not officially released, the recording is widely available in bootleg form – which is one reason I decided to edit its 91 minutes down 25% to a more album-like experience, lasting 70 minutes. If you need the whole show, it’s out there. If you have never, or have not recently, melted your face with 1973 Miles, then this mix is the blowtorch you need.

Overall, I sought momentum, and a balance of tension and release, with every minute being a thrill. In pursuit of those things, I sequenced the edits in a different order than the set list. (However, if you loop the mix, the last song segues into the first one.) If you want to know more about the aesthetic considerations, see the notes below the tracklist.

Every composition played is included (except for a passing glance at “Right Off”), but all of them have been shortened in some way(s), with the exception of “Ife.” 

Musicians:

  • Miles Davis - trumpet, organ
  • Dave Liebman - tenor and soprano saxophones
  • Pete Cosey - guitar, percussion
  • Reggie Lucas - guitar
  • Michael Henderson - electric bass guitar
  • James "Mtume" Heath - congas, rhythm box, table percussion
  • Al Foster - drums

70-minute mp3 mix zipped up here

  • Aghartha Prelude (5:48)
  • Zimbabwe (9:37)
  • Funk (7:17)
  • Unknown (5:57)
  • Turnaround Phrase (10:43)
  • Tune in 5 (8:38)
  • Ife (22:01)

Editing notes:

My edits were mainly motivated by the too-much-of-a-good-thing principle; less is theoretically more, from a repeat listening POV – or a one-time, stoned-out-of-your-mind encounter. 

In several cases, I omitted the conclusions of performances, which tended to be collective rave-ups on the theme that didn’t add much new information. Some of fusion jazz’s assumptions about a “rock” audience were incorrect. If you’ve explored the crap out a riff, you don’t have to come back and beat it to death before turning a corner. Be more like the Grateful Dead. (One "Sunshine Daydream" event per show is enough.)

I also reduced the number of times the music went down to a minimalist percussive hush. That kind of dramatic move isn’t needed more than once or twice during a listening arc. (Might have been fantastic, while watching the band live.)

And I made a few more surgical cuts, eliminating dull solo stretches that took away from the more incendiary parts of the performances. These edits are few. Mostly I shortened, rather than plastic surgerying. But I assure you that you prefer in advance this Aghartha edit that has the guitar solo jumping in right away. 

Cover based on a photograph by Christian Rose.

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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1589334 2020-09-01T01:48:24Z 2020-09-01T01:48:24Z Miles Davis: Turnaround Phrase (11/19/73 violin mutation edit)

Imagine the frontline of the 1973 Miles Davis band as several violinists playing a frantic bop homage to Django Reinhardt and Stephane Grappelli. 

Then listen to this pitch-and-tempo shifted, re-EQ’ed performance of “Turnaround Phrase” from London on 11/19/73.

The balance on this show’s soundboard is really off, which I think is what allowed me to achieve this weird effect.

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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1589129 2020-08-31T18:29:56Z 2020-08-31T23:52:25Z Miles Davis: Antibes Festival ’73 Edits

The Miles Davis band’s July 20, 1973 performance at the Antibes Jazz Festival in in Juan-les-Pins, France, is off the charts.

Unfortunately, the sound board recording of the show leaves Miles’ trumpet almost entirely out of the mix. He's extremely quiet compared to all the other players. You can successfully lock your ears on him and enjoy the whole show - on headphones, paying attention - but the mix doesn’t work for general listening enjoyment. 

What this Save Your Face mix does is edit several performances down to shorter tracks that are dominated by fantastic solos by Dave Liebman (sax, flute) and guitarists Pete Cosey and Reggie Lucas. 

Cosey’s soloing is berserk and amazing – think Fred Frith or Snakefinger. This short edit of “Turnaround Phrase” is probably the most punk rock Miles I've heard. 

27-minute mp3 file zipped up here

  • Turnaround Phrase (edit, 4:29)
  • Unknown (edit, 5:28)
  • Ife (edit, 16:42)

Musicians: Miles Davis (tp, org); Dave Liebman (ss, ts, fl); Pete Cosey (g, pc); Reggie Lucas (g); Michael Henderson (el-b); Al Foster (d); James Mtume Forman (cga, pc)

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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1585478 2020-08-21T20:43:04Z 2020-09-11T14:27:46Z Grateful Dead Shortlist: October ’87 (Shoreline)

The Grateful Dead played only one run in October 1987. This 100-minute highlights mix pulls from those three Mountainview California shows on the 2nd, 3rd, and 4th of the month.

Most of the selections come from the first two shows, which have really nicely mixed soundboards that highlight the quality singing and the exquisite musical detailing. 1987 seems to be a notable year for performances that could sell anyone on songs they've never heard in any other version.

If you enjoyed the Save Your Face September '87 mix that focused on great versions with killer Garcia vocals, you'll enjoy many of these tracks on the same terms.

102-minute mp3 mix zipped up here (dates included in song title tags)

  • Cold Rain and Snow
  • Cumberland Blues (w/Maggie’s Farm intro)
  • Me and My Uncle
  • Candyman
  • Bird Song
  • High Time
  • West LA Fadeaway
  • China Cat Sunflower > Rider Jam
  • Hey Pocky Way
  • Lovelight
  • All Along the Watchtower
  • Let It Grow
  • Stella Blue
  • My Brother Esau
  • Brokedown Palace

Edit notes:

I edited “Rider” to an instrumental because there were crackly defects on the source. It’s a hard edit (I’ve done it a few times), and this one isn’t perfect, but there’s always something to be said for not having to listen to “Rider” in order to enjoy the “China Cat” jam. 

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John Hilgart @4CPcomics
tag:saveyourface.posthaven.com,2013:Post/1583953 2020-08-16T04:18:59Z 2020-08-18T03:49:04Z Grateful Dead Shortlist: Garcia Sings Hunter/Garcia (September 1987)

If you don’t already think of 1987 as one of those years in which the Grateful Dead often played their original compositions perfectly, then you’re in for a happy surprise. Following his 1986 illness, Garcia repossessed his catalogue of songs with massive joy and a voice that was mightier than it had been in years. 

This is a very narrow mix of Garcia singing his heart out on classic Hunter/Garcia compositions (plus “Dew”) in September 1987.  I selected from soundboards with mixes that make his voice the center of the performances. The cities are Providence, Washington D.C., New York, and Philadelphia.

    Two-hour+ mp3 mix zipped up here (3 LPs or two discs, as you wish. Dates and cities included in mp3 title tags.)

    Side One:

    • West LA Fadeaway
    • Ship of Fools
    • High Time

    Side Two:

    • They Love Each Other
    • Fire on the Mountain
    • China Doll

    Side Three:

    • Dire Wolf
    • Wharf Rat
    • Eyes of the World

    Side Four:

    • He’s Gone
    • Row Jimmy

    Side Five:

    • Black Peter
    • Morning Dew
    • Brokedown Palace

    Side Six (Encore w/different sound board balance):

    • Loser
    • Might as Well
    • U.S. Blues

    CURATORIAL/EDITORIAL CAVEATS:

    • The last three selections don’t have Garcia’s vocals as forward and clear in the mix as the rest of the tracks, but the singing and band performances insisted that they be included.
    • There are two edits on this mix. “Wharf Rat” and “He’s Gone" switch from 9/16 to 9/20 to combine the better sung version with the more amazing conclusion.  
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    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1581188 2020-08-05T02:31:16Z 2020-08-10T15:30:10Z Grateful Dead Shortlist: Deer Creek, June 21-23 1993

    This is a 3-hour mix of highlights from the Grateful Dead’s three-show, June 1993 run at Deer Creek in Noblesville, IN. It is pulled from matching SBD sources, except for “Loser” and “High Time,” where the audience recording worked better.

    The band was crackling on a lot of first set tunes during this run, particularly in the good times and old-timey zones, with a heavy Garcia-song tilt. Twangy, funky. Some of it has a light touch, but much of it is surprisingly fierce, given the songs. The first disc of this mix pulls that kind of material together into a really fun, unconventional first set. No jam necessary.

    The second and third discs collect the big numbers, which have a nice dynamic range. There’s plenty of intense exploration in the 24-minute “Terrapin,” and the first two-thirds of “Fire” are fiery. In contrast, there’s a chill, focused vibe to much of the rest of the improvisation – “Scarlet,” “Dark Star,” “Eternity,” and “Victim.”  (I edited the latter two songs to instrumentals specifically to nestle them up alongside this short-but-sweet “Dark Star.”)

    “High Time” was played very rarely after 1991; this is the sixth from last. “Dark Star” is the fifth from last. This mix doesn’t include Drums>Space highlights, which I’m reserving for a future mix dedicated to only that stuff. Caveat: The first few minutes of "Terrapin's" sung parts are rough, but the performance gains steam as the song progresses, flowing into a great jam, so I didn't edit it down.

    3-hour mp3 mix zipped up here

    Disc One (70 minutes)

    • Jack Straw >
    • Friend of the Devil
    • Jack-a-Roe (slight edit)
    • Loose Lucy
    • Way to Go Home
    • Let the Good Times Roll (edit)
    • It’s All Over Now
    • Lazy River Road
    • Black Peter
    • Loser
    • High Time

    Disc Two (49 minutes)

    • Scarlet Begonias >
    • Fire on the Mountain
    • Terrapin Station > Jam

    Disc Three (53 minutes)

    • Dark Star
    • Eternity Jam
    • Victim or the Crime Jam > 
    • Crazy Fingers
    • He’s Gone
    • I Need a Miracle Jam >
    • Days Between (edit)
    • Encore: I Fought the Law (slight edit)
    ]]>
    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1579745 2020-08-01T03:44:15Z 2020-09-28T13:33:14Z Grateful Dead: Mystery Jam #1

    This eight minute Grateful Dead improvisation is one of half-a-dozen from 1972-1974 that turned me into a fanatical early-‘70s tape-head in the late 1980s. It is still one of my favorite passages, and I still haven’t encountered anything quite like it.

    It is unreleased, and not previously isolated on a Save Your Face blog mixtape. When did they play it, and who’s with me?


    ]]>
    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1575931 2020-07-21T19:30:19Z 2020-08-12T02:59:40Z Grateful Dead: Firelike Jams (1968-1979) - EXPANDED EDITION

    This mix collects Grateful Dead improvisations that have something in common with “Fire on the Mountain.” It also includes a live Diga Rhythm Band performance with Garcia, and an early studio take of a vocal “Fire on the Mountain” by The Marin County Collective, which featured Hart and Garcia. 

    NOTE: This is a much-expanded revision of an earlier mix. I have simply revised the original blogpost and linked to the expanded file. Apologies to those who grabbed the first one, but comments on that one got me to this one, so there you go. Special thanks to @MrCompletely, @DeadsoundApp, and @MarkRichardson, without whom…

    83-minute mp3 mix zipped up here

    Firelike ’68 (10/10/68, Hartbeats) (10:59)

    • Starting with a gentle riff that sounds a bit like the Dave Brubeck quartet noodling Scarlet-into-Fire, this jam mutates into a bop-like exploration of the “Dark Star” melody, before revisiting Firelike territory around the six-minute mark, then wandering off again. I kept the jam intact, since it’s good and organic all the way through.

    Firelike ’68 (12/16/68, Hartbeats w/David Getz) (9:17)

    • This is the earliest instance of this kind of groove that I’m aware of. Garcia brushes up against “Dark Star” and ventures into explicit “China Cat” territory.

    Firelike ’71 (8/21/71, Mickey’s Barn) (12:08)

    • This jam finds its fire gradually and kicks in hard around five minutes. From the “A Day in the Country” radio broadcast. Players include some combination of Jerry Garcia, Phil Lesh, Bob Weir, Mickey Hart, Ned Lagin, David Crosby, and John Cipollina.

    Firelike ’73 (7/27/73, Watkins Glen Jam pt. 2) (5:12)

    • The most famous Firelike jam appeared in the second half of the 30-minute “Watkins Glen Jam.” I edited tight, since everyone knows the Watkins jam.

    Firelike ’75 (Blues for Allah rehearsal) (14:04)

    • I had the most terrible tape of this in the 1980s - 100th generation, with more hiss than music - but I loved it. The five minutes preceding my start-point are also cool, but they kind of turn the beat around and pounce decisively at the place I begin. (The Save Your Face mix, “Knot Jazz,” contains the whole thing.)

    Happiness is Drumming ’76 (6/28/76, Chicago) (6:31)

    Happiness is Drumming ’76 (6/22/76, Philadelphia) (1:57)

    • The Chicago performances is a full-band, full-blown “Happiness is Drumming” – essentially the debut of “Fire.” (The mix, unfortunately, has Keith pretty loud, and he's playing without imagination or swing.) The brief Philadelphia occurrence is just a glancing blow, but in a crazy-fun context.

    Firelike ’79 (4/16/79, Brent Mydland rehearsal)

    • This is an actual Scarletfire jam – “Scarlet” improv on top of an almost-“Fire” rhythm bed. 

    Happiness is Drumming ’75 (5/30/75, Diga Rhythm Band w/Garcia) (10:56)

    • I decided not to include Diga’s familiar released studio recording of this song (which also includes Garcia) in favor of this long, live take.

    Fire on the Mountain 1972-1973 (Melton, Garcia, Hart, Freiberg) (5:09)

    • As far as I can discern, the two versions of the Marin County Collective’s unreleased, Mickey’s Barn, “Fire on the Mountain” (1972 and 1973) are based on the same recording, edited shorter and longer (3:17 vs. 5:09). I’ve included only the longer edit (1973). This is the first recording to include the song’s lyrics, with extra and different words, which are rapped by Mickey Hart. Personally, I’m cool with all aspects of that scenario.
    ]]>
    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1569800 2020-07-06T12:33:24Z 2020-08-02T06:29:59Z Grateful Dead: The Tighten Up Jam (1969-1971)

    This mix compiles 25 performances (two hours) of the “Tighten Up Jam” by the Grateful Dead, including several adjacent “Feelin’ Groovy Jams.” The jam typically appeared in the variable middle of “Dark Star” and as a side-trip prior to the final chorus of “Dancin’ in the Streets.” 

    The Dead’s “Tighten Up” is named for its plausible derivation from the song of the same name by Archie Bell and the Drells (1968). “Soulful Strut” by Young Holt Unlimited (1968) has also been suggested as an influence. 

    “Tighten Up” could be languid and sweet or fast and fierce. It’s one of the very special, pliable, thematic sub-plots in Dead history. Aside from a 1971 outlier, it was only played during a 14-month period from late summer 1969 to fall 1970.

    While being distinctive musically, “Tighten Up” was also just a short reach from other comfortable 1969-1970 zones. The band could jump or creep into it from “Dark Star’s” theme, in the middle of a “Dancin’” jam, out of “Feelin’ Groovy,” or from more open spaces in the music.

    Yet, while being very much an expression of that moment’s band, the “Tighten Up Jam” also tilts forward toward things to come. 

    It is the era’s “Eyes of the World,” allowing the band to explore jazzy rhythms and chords to a greater extent than nearly anything else they were playing at the time. Though in a different key, it gets very close to “Eyes” at numerous points on these recordings. If the band hadn’t had other ideas about the 1973-1974 “Eyes” jam, you could easily imagine set lists containing “Eyes > Tighten Up,” and vice versa.

    Some other points of future-song interest:

    • The second half of the 1/2/70 “Feelin’ Groovy” sounds like it is inventing “Sugar Magnolia,” which doesn’t appear on a tape before 6/24/70 – when it bursts, half-formed out that night's "Tighten Up" jam, inside that night's "Dark Star."
    • The second half of the 9/18/70 “Tighten Up” sounds like it is inventing “The Wheel.”
    • In several of the speedier performances, Garcia leads the band into a place that’s related to the second half of the 1973 Watkins Glenn jam – which is itself close kin to “Fire on the Mountain.” Check out the final minute of 5/6/70 and 4/3/70 (1:25 until nearly the end) for examples.

    The first 20 tracks on the mix are the highest-fidelity recordings, sequenced to provide both continuity and variation. The final five tracks are exciting performances that only circulate on lo-fi-but-listenable audience tapes (e.g., Portchester, 6/24/70).

    There are no jump cuts or edited segues on this mix; I just managed start and end points for each performance.

    111-minute mp3 mix zipped up here, which looks like this:

    A note of thanks to my masked collaborator:

    This mix would not have been possible without this amazing guide to where to find “Tighten Up” in the Dead’s recordings. I don’t know who “enjoy every (dead) sandwich” is, but they are awesome.

    ]]>
    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1567976 2020-07-02T19:37:03Z 2020-07-02T23:21:06Z Grateful Dead: The Spanish Jam (1968-1995)

    This mix compiles 47 performances of the Grateful Dead’s “Spanish Jam” – which may be every recorded version. Lasting 4.25 hours, the mix stretches from January 1968 to June 1995, nearly the band’s whole career.

    The performances are divided into five “discs” of various lengths, which align with the band’s discontinuous engagement with the theme. All performances have been volume equalized and edited to have ear-friendly start and end points.

    The disc/track indexing is strictly chronological, except for the 1973-1974 disc, which is sequenced for a better-than-chronological listening experience. If you don’t like that, the song title tags are formatted to enable a full chronological sort.

    Multiple members of the Dead have credited Miles Davis’ “Sketches of Spain” album as the band’s source/inspiration. Drop the needle on the song “Solea” around the 9:30 mark to hear why that makes sense.

    "Solea" and “Spanish Jam” may share an origin in the widely-recorded composition “Malagueña” by Cuban composer Ernesto Lecuona. Here’s Lecuona playing it in 1954. Here’s Chet Atkins playing it in 1956. Here’s the Stan Kenton big band playing it circa 1961.

    You can follow Dead-scholar trails about the song here, among other places.

    The mp3 mix has been divided into four separate downloads, so that you don't have to deal with a single, gigantic file. The two 1980s discs are combined into a single file for downloading. 

    Disc One: 1968-1970 (download)

    • Four performances
    • 49 minutes

    Disc Two: 1973-1974 + 1976 (download)

    • Nine performances
    • 45 minutes

    Disc Three: 1981 (download)

    • Nine performances
    • 41 minutes

    Disc Four: 1982-1987 (included with 1981 download)

    • Seventeen performances
    • 79 minutes

    Disc Five: 1992-1995 (download)

    • Eight performances
    • 38 minutes
    ]]>
    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1566230 2020-06-28T21:35:02Z 2020-07-08T19:53:38Z Grateful Dead: Mind Left Body Jam (1972-1993)

    This mix compiles 18 versions of the Grateful Dead’s “Mind Left Body” jam from 1972-1974 – plus an appendix of 12 later manifestations (1975-1993). These eras are presented as separate mixes.

    (This is version two of the mix, including volume and EQ improvements on four tracks.)

    1972-1974 MLB MVP goes to Billy. If you could isolate his drums, you would find so many killer samples.

    All performances are provided complete. I created jump cuts in some places, but those are at or after the moment when the theme vanished from the jam. (Preferable to constantly fading out as some other theme begins.)

    I created sequences for each disc that help create a listening experience with some coherence and flow. Every MLB had its own tempo, vibe, and attack - bursting or emerging out of somewhere else, on its way to somewhere else.

    You can also sort all tracks chronologically. The song title format of the mp3 files is: “MLB (YY/MM/DD).” Chronological isn't an ideal, continuous listening experience, IMO, but it enables you to use the mix as an audio reference work.

    The standard written reference work on “Mind Left Body” is here. Worth reading all the way to the bottom! I believe I checked out every version noted in the post, and I only omitted the ones that are barely there.

    While it is true that most of the post-1974 performances aren’t full MLB Jams, by early Seventies standards, they also have the benefit of doing different things with those four chords. The 12/30/83 > 10/20/84 > 11/29/81 sequence combines into a pretty thrilling jam, for any era, with MLB cropping up in interesting ways.

    Two-hour mp3 mix zipped up here

    Disc One: 1972-1974 (63 minutes)

    • MLB (6/28/74)
    • MLB (5/12/74)
    • MLB (11/20/73)
    • MLB (10/17/74)
    • MLB (5/19/74)
    • MLB (6/16/74)
    • MLB (9/14/74)
    • MLB (4/8/72 w/other themes)
    • MLB (12/2/73)
    • MLB (9/21/73)
    • MLB (12/18/73)
    • MLB (11/11/73)
    • MLB (10/25/73)
    • MLB (10/19/73)
    • MLB (7/31/74)
    • MLB (10/30/73)
    • MLB (9/21/72 w/other themes)
    • MLB (3/5/72 inside “Good Lovin’”)

    Disc Two: 1975-1993 (44 minutes)

    • MLB (10/18/78 - w/“Mojo" licks)
    • MLB (12/30/83)
    • MLB (10/20/84 - w/other themes)
    • MLB (11/29/81 - w/other themes)
    • MLB (2/28/75 - “Music Never Stopped” rehearsal)
    • MLB (7/16/90)
    • MLB (3/24/90 - “Mud Love Buddy”)
    • MLB (6/8/92 - out of “Corrina”)
    • MLB (3/10/93)
    • MLB (3/10/85 - AUD)
    • MLB (6/4/83 - AUD)
    • MLB (9/6/79)
    ]]>
    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1551241 2020-05-29T03:47:29Z 2020-06-02T02:40:52Z Grateful Dead - May ’77 Edits: O-Peggy, Sugarfree, and Broad-Hipped Women

    This post collects three stray Save Your Face edits of May 1977 Grateful Dead. One is new, one was shared only on twitter, and one was previously posted on this blog. All three concepts were suggested by listeners. 

    Additionally, you’ll find mixes of May 1977 “Fire on the Mountain” and “Dancin’ in the Streets" performances on Save Your Face, if you poke around. 

    43-minute mp3 mix zipped up here

    Brown-Eyed Women (12 minutes) 

    An extended version that includes the solo sections of nine May 1977 performances. May 28 leads off and provides the first vocal section and solo. The closing vocal section comes from 5/8. The month’s BEW solo sections lasted 40-60 seconds each.

    Sugaree (10 minutes)

    An instrumental edit of the May 19, 1977 performance. It was the longest of the month.

    Peggy-O (21 minutes) 

    Same approach as with “Brown Eyed Women.” The beginning and end (with the sung sections) are provided by May 9. In between, there are an additional eight solo sections from the month’s performances. Most of the solo sections are ~1:45 in length. May 11 is the longest at 2:30. I skipped one version which doesn't circulate in a good SBD or AUD recording. Only one comes from a non-official source.

    OCD notes: For BEW, I sequenced to conceal tempo changes, so it would simulate a continuous, relentless solo break. For Peggy-O, I shuffled tempo here and there, so that the repetition of the instrumental break’s arc would be disrupted by some mood/body shifts. 


    ]]>
    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1550305 2020-05-26T21:58:03Z 2020-05-27T02:06:17Z The Rolling Stones: Respectable (1989-2012)

    Last month (April 2020), The Rolling Stones dropped an excellent new song, “Living in a Ghost Town.” It has been 15 years since the band’s last album of originals, with new compositions released only occasionally on greatest hits compilations.

    The mix presented here is a studio highlights reel curated by someone who has no significant history with 1989-present Stones. It pays no attention to any criteria but satisfying my personal desires as a 1968-1981 Stones super-fan. It’s full of b-sides and deep cuts, and it ignores a number of supposedly big songs from the era. My goals were authenticity and an avoidance of redundancy. (A few cool tracks got cut because they just didn’t fit.)

    If you’re a Stones fan who has forgotten or never heard most of these songs, this mix is for you. You’ll find tracks that hit every historical Stones mode, from blues to ballads to bombast. And Keith songs.

    96-minute mp3 mix zipped up here

    LP 1:

    • Doom & Gloom
    • Let Me Down Slow
    • Saint of Me
    • How Can I Stop
    • Biggest Mistake
    • Break the Spell
    • Jump on Top of Me
    • Anybody Seen My Baby
    • Thief in the Night
    • Laugh, I Nearly Died
    • Always Suffering

    LP 2:

    • I Go Wild
    • I’m Gonna Drive
    • Keys to Your Love
    • Any Way You Look at It
    • New Faces
    • The Worst
    • Thru and Thru
    • Lowdown
    • Fancyman Blues
    • Almost Hear You Sigh
    • Don’t Stop

    Cover art by Martin Whatson, used without permission.

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    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1546075 2020-05-18T01:34:52Z 2020-05-25T13:23:58Z Grateful Dead: The Dead Play The Beatles (1983-1995)

    This mix includes a version of every Beatles song the Grateful Dead played (1983-1995). All selections are unreleased, except “Hey Jude,” and all are from soundboard sources.

    The Dead’s engagement with The Beatles’ catalogue was a minor part of the long strange trip: eleven songs, some played only once, most only a handful of times. 

    Dead-play-Beatles has a justifiably bad reputation. The songs are often unlikely stretches for the singers, and the band didn’t master the playing of most of them. They’d only hang around for a hot minute, and/or they’d pop up, sloppily, once in a while. 

    Fortunately, there’s a charming, very good, or great performance of every song – and they add up to a very enjoyable, all-Beatles Dead set. More on the selections below the track list. 

    68-minute mp3 mix zipped up here

    • Why Don’t We Do It In the Road? (4/13/85)
    • Day Tripper (6/25/85)
    • Revolution (10/17/83)
    • Tomorrow Never Knows (5/21/93)
    • Lucy in the Sky With Diamonds (3/17/95, slight edit)
    • It’s All Too Much (3/18/95)
    • Rain (3/18/95)
    • I Want to Tell You (10/15/94)
    • Tomorrow Never Knows (8-version jam edit, 1992-1993)
    • Hey Jude (3/22/90, edit)
    • Get Back (1/28/87)
    • Blackbird (7/17/88, slight edit)

    Performance History and Selection Notes

    Why Don’t We Do It In the Road?

    Played seven times, June 1984-March 1986

    Day Tripper

    Played five times, December 1984-August 1985

    Revolution

    Played eleven times, October 1983-March 1990. Four performances in October 1983, two in October 1984, three across 1985, and two in March 1990. The second performance is featured on this mix.

    Tomorrow Never Knows

    Played twelve times, May 1992-November 1994. This mix includes the next-to-last version, plus a long, simulated jam of the song constructed from eight other versions.

    Lucy in the Sky With Diamonds

    Played 19 times, March 1993-June 1995. The version on this mix is by far the longest, the only one featuring an instrumental build-up. I edited out five seconds of uncertainty.

    It’s All Too Much

    Played six times, March 1995-July 1995. The version here is the debut.

    Rain

    Played twenty times, December 1992-June 1995. The band couldn’t sing this song very well, but in 1995 they played it heavier and mixed it thicker, which helps. 

    I Want to Tell You

    Played seven times, July 1994-May 1995. The version included contains the worst vocal flub of the mix - one whole mumbled line. 

    Hey Jude

    Aside from some 1969 stabs, the Dead restricted their playing of this song to a “Hey Jude Finale,” which followed “Dear Mr. Fantasy” some 30 times, 1985-1990. Except… one night in March 1990, they preceded “Fantasy” with a sweet little sketch of the song itself. That’s the version on this mix, with “Fantasy” removed, so the song and the finale are joined. 

    Get Back

    Played only once, in 1987. It’s a stretch for Bobby’s voice, but on the whole, really great.

    Blackbird

    Played twice in the summer of 1988. I saw the first performance, which was just a spontaneous goof, I think - fun to behold, but terrible as a performance. The second version strikes me as a fairly serious attempt to play it correctly, with Bobby being a vocal bandleader at a couple of points. I edited out the most extreme gaff, which I think makes the whole thing more lovable, despite remaining bumps.

    Cover art: Alan Aldridge, detail from “Tomorrow Never Knows,” published in The Beatles Illustrated Lyrics.

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    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1545016 2020-05-15T21:44:56Z 2020-05-25T13:24:05Z The Rolling Stones: Miss You Live (1978 Tour Highlights)

    This tour deserves way more respect. For one thing, the band performed all of the “Some Girls” songs, except the title track and "Before They Make Me Run." That alone makes the tour’s setlist exciting and historically anomalous. The Stones were mostly a hits band, before and after this tour, and I don’t believe there’s any album that was as throughly performed live at the time of its release.

    And it’s “Some Girls,” played exactly right by a gloriously fucked-up and entirely appropriate Rolling Stones. This mix pulls from all the FM broadcasts I could lay my hands on (a while back), plucking one version of nearly every song played on the tour. When it was right, it was great. 

    There are a million miles between this band and the thoroughly boring one documented on the 1975 tour album, “Love You Live," released in 1977 – and between the 1978 tour all all subsequent, highly-professional ones. I’m not saying that all later live Stones is to be ignored, but rather that the 1978 tour was probably the last time anyone witnessed the unruly entity that built the Stones legend.

    So, this mix tries to lock down that moment in an enduringly satisfying, album-like way. 

    I messed with the typical setlist order of the tour, so that all the “Some Girls” material is grouped together. The mix leads and closes with older tunes.

    80-minute mix zipped up here

    • Hound Dog
    • Starfucker
    • All Down the Line
    • Honky Tonk Women
    • Miss You
    • Beast of Burden
    • Shattered
    • When the Whip Comes Down
    • Lies
    • Just My Imagination
    • Far Away Eyes
    • Respectable
    • Love In Vain
    • Tumbling Dice
    • Jumping Jack Flash

    Important caveats:

    • I compiled this in 2010 and did not tag my selections with dates/locations. Subsequently (2011), The Rolling Stones released a full 1978 show from Fort Worth, Texas. I am sorry I can’t tell you which, if any, tracks come from that show.  
    • This mix was originally (and is still) posted as a Save Your Face virtual boxed set that includes two discs of curated studio outtakes from the “Some Girls” era. It’s one of several such multi-disc sets on the SYF blog. Since this live disc has more mass appeal than the half-finished outtakes, I thought it might make sense to break it out. (And I felt like making a cover image!) Choose your own adventure.
    ]]>
    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1544051 2020-05-13T15:45:46Z 2020-05-25T13:24:10Z Grateful Dead: Dead Play Dylan - 1994

    This mix presents a version of 10 of the 11 Bob Dylan songs the Grateful Dead played in 1994. The performances and soundboard mixes are excellent, with scant imperfections of any sort – except for the sloppy vocals on “Rainy Day Women,” featuring Dylan himself.

    All performances are unreleased, and selections are based on a review of all the circulating 1994 soundboard recordings, as of May 2020.

    Most of these songs entered the repertoire through the band’s collaboration with Bob Dylan in late 1980s. By 1994, the band’s lighter touch, more acoustic sound, and preference for detail over density gave the Dead a greater ability to interpret Dylan’s songs and give them each a distinctive musical plot.

    Additionally, I have included an unreleased performance of “Visions of Johanna,” which the band revived in 1995 and played six times - three of those performances officially released (2/21, 3/18, and 7/8). My favorite of the remaining three, the second performance, only circulates as an audience recording, but in a great way. Seemed like the correct way to break the 1994 rule and bookend this mix.

    75-minute mp3 mix zipped up here

    • Maggie’s Farm (7/19/94 - Noblesville, IN)
    • When I Paint My Masterpiece (6/25/94 - Las Vegas, NV)
    • It’s All Over Now, Baby Blue (10/13/94 - NYC)
    • Just Like Tom Thumb’s Blues (10/15/94 - NYC)
    • The Mighty Quinn (10/5/94 - Philadelphia, PA)
    • Queen Jane Approximately (3/27/94 - Uniondale, NY)
    • All Along the Watchtower (9/27/94 - Boston, MA)
    • Desolation Row (7/2/94 - Mountainview, CA)
    • Knockin’ on Heaven’s Door (6/19/94 - Eugene, OR)
    • Rainy Day Women #12 and 35 (w/Dylan, 10/17/94 - NYC)
    • Visions of Johanna (2/24/95 aud - Oakland, CA)

    Eight of these songs previously appeared on Save Your Face’s chronological survey of 1994 soundboards. The missing song is "Stuck Inside of Mobile with the Memphis Blues Again." The band played it once that year, and it was good, but not outstanding. You can play it on Relisten here

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    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1540541 2020-05-06T02:34:39Z 2020-05-06T22:28:59Z Hair (the musical): 1967-1970 Mix

    It may be time for a reencounter with “Hair” (the musical) – as a document of 1968-1970 rock, as a legit/ersatz entry into the cultural stream, and apart from it being a stage musical. “Ain’t got no” is a timely rallying cry. The songs are good.

    This mix curates performances from four of the era’s released productions and tries to assemble them into an interesting 2020 alt-music album:

    • Off-Broadway 1967
    • Broadway 1968
    • London 1968
    • London 1970

    The show’s music was composed by Galt MacDermot and the lyrics by Gerome Ragni and James Rado. The show’s various arrangers and performers slanted the songs in a lot of different ways.

    That created a great opportunity to curate a version that sounds less like a musical and more like a 1969 radio station playing an hour of solid, contemporary pop, rock, soul, Brill Building tunes, etc.  

    68-minute mp3 mix zipped up here, as follows:

    Caveats:

    I’m neither a “Hair” nor musical theatre expert. I inherited “Hair” in multiple production and language recordings from my dad, who died in 2010, after DJ’ing a syndicated NPR musical theatre show for 20+ years. That same dad provided two vinyl LPs of “Hair” productions to me before I was 12 years old, so I’ve got a biased relationship to these songs. 

    I have four non-English productions of the show from my dad. Another mix will happen. if you have high-quality, non-English production audio files, please contact me. 

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    John Hilgart @4CPcomics
    tag:saveyourface.posthaven.com,2013:Post/1539224 2020-05-03T12:52:25Z 2020-05-03T17:25:32Z Jazz Remixed: Selections 2002-2006

    This mix curates tracks from the jazz remix craze of the early 2000s. I was really into it, because I love jazz, and the electronica I sought out at the time already leaned in a jazzy direction – with interesting syncopations, slinky undertows, slower tempos, and minimal clatter. 

    The two hours compiled here are tracks that are still in my regular rotation 15 years later. I have compiled one hour each of vocals and instrumentals from seven of the era’s remix albums. I endeavored to make the metadata as complete and systematic as possible (see below). Title tags conclude with shorthand for the source release (e.g., Verve, Savoy). 

    121-minute mix zipped up here

    The vocal disc: Ten songs come from “Verve Remixed, Volumes 1-3” (3-releases, various producers), and three come from “Ladies of Jazz Remixed,” remixed by James Hardway.

    The instrumental disc: By far the most consistent of the instrumental jazz remix albums is “Re-Bop: The Savoy Remixes,” produced by Joshua Sherman and Stu Fine. Nine of the tracks in this mix come from that album. “Bird Up! The Charlie Parker Remix Project,” produced by Matthew Backer, provides four of the others. The additional track comes from “Impulsive!” There are vocals on some of these tracks, but no sung songs.

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    John Hilgart @4CPcomics