Phil & Ned 1974

Zipped up file of mp3s here

70 minutes:

  • September 18
  • June 26 or 28
  • September 14
  • June 30
  • July 31

This compilation is purely for convenience's sake. I don't often want to listen to a Phil & Ned performance in the middle of Grateful Dead music, but my love of early electronic, minimalist, ambient, Krautrock, and other related music also makes me a fan of Phil & Ned. I quite enjoy 70 minutes straight, and I look forward to gathering together more sometime.

I am by no means an expert on all of their performances, and I don't think there was any method when I chose these five a year or two ago; I think I just wanted some isolated Phil & Ned. One criterion I did have was that no one other than Phil & Ned appeared. No cameos by Jerry or transitions into Dead Space are included here. 

(Pulled from released and unreleased shows, at least at the time I made it.)

“Blues for Allah” Rehearsals – 1975 (6 disc set)

The objective of this set is to distill a vast swath of fairly unapproachable, overlapping bootlegs into something that you can just put on, enjoy, and get to know. I'm confident of its usefulness until The Dead bring out a big, definitive boxed set. 

Folder containing six zipped files of mp3s available here.

1: Sketch of Allah #1 (62 minutes)

  • Help on the Way > Slipknot > Franklin’s Tower (“stunning”) (14:46)
  • Stronger Than Dirt (with conclusion) (7:25)
  • Primordial Crazy Fingers (“Distorto”) (8:15)
  • The Music Was a Jam (11:29)
  • In Search of Allah (19:53)

2: Low-Key Investigations (76 minutes)

  • Paging Getz & Gilberto (1:01)
  • Ace’s Riff (6:36)
  • Sleepy Desert Jam (14:25)
  • Beautiful Song (2:26)
  • Descent into a Spacey Place (7:12)
  • Homeward Through the Haze (7:58)
  • Supple Lightning (4:49)
  • Stronger Than Dirt (low-key) (2:06)
  • Ace’s Riffsong (edit of four pieces of three takes) (4:24)
  • Noodle on the Mountain (23:00)
  • The Music Almost Stopped (:44)
  • The Drunk Lounge Band from Ipanema (1:57)

3: Grooves (79 minutes)

  • Supplication Groove (“Groove" #1 full-length) (14:54)
  • Maybe This Town Has Got Some Heart (“Groove #2” full-length) (10:07)
  • A to E-Flat (full-length) (16:37)
  • Photo 18 Proper (full-length) (11:30)
  • Funky Plunky (5:07)
  • What if the Music Never Stops? (20:49)

4: Sketch of Allah #2 (53 minutes)

  • Help on the Way Jam > Looseknot (8:10)
  • Slipknoodle (1:09)
  • Franklin’s Tower (slow version) (6:37)
  • The Nines > Jam (“Orpheus”) (16:45)
  • Blues for Allah > Stronger Than Dirt” (14:50)
  • Low Down Payment Blues (5:25)

5: Full of Dirt (47 minutes)

  • Stronger Than Dirt (whimsical Keith) (1:48)
  • Longer Than Dirt (10:16)
  • The Nines 2 (9:39)
  • Stranger Than Dirt > Space > Stranger Than Dirt (6:26)
  • Help on the Way > Slipknot #1 (looser) (7:57)
  • Franklin’s Tower (encouraged muttering) (4:48)
  • The Nines 1 (5:10)

6: Sketch of Allah #3 (67 minutes)

  • Help on the Way > Slipknot #2 (speedy, tight) (6:08)
  • Franklin’s Tower (“Ow!” conclusion) (4:48)
  • Blues for Allah > Stronger Than Dirt > Closure (“The First Day”) (21:35)
  • Jam (23:45)
  • Crazy Fingers (studio instrumental) (6:51)
  • Hollywood Cantata (early Music Never Stopped) (4:15)

The result is about 6.5 hours of material from about 11 hours of bootlegs and other sources that I had available. It’s divided up into six “discs,” each of which is intended to provide a pleasurable, non-repetitive listening experience. I recommend spending time with 1-to-3 first, then proceeding to 4-to-6. Material on the latter three is just as interesting (mostly), but you risk repetition-fatigue if you dive into all six at once, IMO. That was the problem with the original bootlegs. Of course, you can choose your own adventure through all of it.

After identifying the material that I thought was distinctively delightful, I trimmed off all the dead air/noodling, rebuilt some long jams that were sliced up on the bootlegs, did some mild EQ-ing to bring muffled/shrill tracks into line, volume equalized it all (fairly well), and tried to title everything in a way that was musically accurate and provided ways to tell versions of the same song or theme apart. I started with 192kbps mp3s, so that’s what I outputted after editing. Lossy but delicious, I assure you. 

I have included unedited versions of the material released on the expanded editions of “Blues for Allah” and “Reflections,” (adding 2-10 minutes to those tracks that were edited) as well as the long recording known as “The First Day,” and three tracks from The Grateful Dead Hour that include David Crosby and Ned Lagin, while lacking Weir and Godchaux. Everything is from bootleg sources, except two tracks taken from the expanded “Allah” release and "Orpheus" from the expanded "Reflections" (because they were complete there and sounded better).

Steal Your Voice: Instrumental Versions 1972-1974

76-minute 192kbps mp3 download (4th edition)

Vocal-free versions of:

  • Here Comes Sunshine (8:16)
  • Loose Lucy (4:26)
  • Johnny B. Goode (1:41)
  • Promised Land (1:51)
  • Scarlet Begonias (7:10)
  • China Cat Rider (9:16)
  • Big River (2:42)
  • Let It Grow (5:32)
  • Bird Song (9:32)
  • Eyes of the World (7:46)
  • Playin' in the Band (17:57)

All from unreleased shows, with all original source dates contained in mp3 tags. 

This compilation is the counterpart to another mix I posted that is comprised of remarkable Grateful Dead improvisational passages that aren't related to any song – that just happened once. In this version, The Dead play their familiar, formal compositions, but they leave out the words.

The edits here preserve almost every note of the original performances, except the sung sections. Verses/choruses have been edited out and the surrounding musical movements seamed together to keep music flowing without disruption. The only exceptions are the final vocal reprises of “Here Comes Sunshine” and “I Know You Rider,” because only they resolve the songs.

It's both startling and familiar to hear The Dead working through the changes of all these songs, as if the truck carrying the microphones had been delayed, and they decided to go on with the show. The funny thing is that you already know these songs in this way. How each one starts, how it gets to every verse, and how it leaps out of every verse into an instrumental break that has different rules than the others. 

I made these edits in order to hear those songs within the songs, performed by a jazzy combo that hardly needs to play the melody straight once, before both bending it all out of shape and guiding it through a structured build and resolution. And indeed The Dead were that band, and this is an imaginary concert they performed in the early 1970s. 

    Shortlist: Improvisation 1973-1974 vol. 1

    74 minutes (10 tracks) of vocal-free improvisation in lossy 192kbps mixtape glory.

    New link: Let me know if it doesn't work.

    The aspect of The Grateful Dead’s record release strategy since Garcia’s death that I’d particularly fault is the failure to secure the band’s legacy as one of the outstanding jazz-fusion explorers of the early 1970s. Ten years ago, I became fed up with poor 1972-1974 vocals, and was tired of most of The Dead’s songs, after 20 years of listening to them a lot. So, I made 10 volumes of nothing but vocal-free improvisational material from 1972 to 1974, and listened to nothing but that for a while. As this blog’s mixtapes indicate, I eventually came back around to the songs themselves, but the improv tapes remain a concentrated thrill. 

    This is the first volume I made, probably the one most focused on spontaneous musical compositions that have no relation to any particular song. Some of this material was subsequently released officially, but whatever the provenance of the sources I used at the time, it’s all crispy. The 11/11/73 material may be sourced from a cassette that Dick Latvala sent me in the early 1990s, when I was sending him tapes of Pigpen outbursts, mostly directed at the sound mixer, that Dick couldn’t find in the archive. We’d argued, first, about whether “Dark Star” or “The Other One” was the ultimate Dead barometer (he insisted on “The Other One” and may have been correct), and then about the merits of the dreamy, drifty 11/11/73 “Dark Star” (the jam following it is on this mix). I loved that "Dark Star"; Dick was meh. I eventually conceded that maybe I was partly in love with the particular vibe of my mid-generation cassette, which I'd clutched tightly to my breast for years. Dick responded by sending me a dub of his reference copy of the whole show; he was a very nice guy. The "Dark Star" was still the song I knew and loved, but so much cleaner, so I guess I accidentally tricked Dick – but he was satisfied to receive in return a tape of Pigpen threatening to cut off the sound mixer’s head and shit in it. 

    Dark Starlets: A Europe ’72 Single-Song Mega-Mix

    This mix is comprised of 21 musical segments drawn from all the “Dark Stars” performed during the Europe ’72 tour. They are arranged into two 64-minute sequences, each of which begins with the song’s intro, and each of which contains a verse. It’s all “forward moving” improvisation, whether on the “Dark Star” theme or farther afield. There’s no “space,” though the segments wind up and wind down from spacey zones, such that The Dead’s development of each musical angle here is respected, and the result feels more or less like a single performance, with ebbs and flows. If you’ve ever imagined a one-hour or two-hour “Dark Star” that never completely spaces out and keeps finding new melodic avenues, this is for you.

    192kbps mp3s sourced from the official Europe '72 box (and reloaded to fix a defect)