Part 2 or Disc 2 of Steve Seachrist Grateful Dead Review May 3,1972

Disc Two

1. Tennessee Jed

Having played this song dozens of times previously, and many times on this tour already, the Dead finally nail it for posterity here. They had lots of versions to choose from for the album and this one certainly deserved its place in history. And, yup, when

you hear those first riffs it’s pretty obvious that this is the same groove and ambience

from   

Europe ’72. But right there in the first verse, it becomes clear that this is the

 original vocal and not the overdubbed one when Jerry sings, “Listen to the whistle of

the 

passing train.” I’ve never heard him sing that before. Otherwise, the lead vocal and

 the backing vocals in the chorus are pretty close to the final version. Jerry is a bit more

exuberant here, with some raw emotion cutting through from time to time. He muffs

the line about “a few winks” which may have been the deciding factor in overdubbing

it. When the middle instrumental segment arrives, it is the same series of licks and this

was definitely used on the album. No wonder! It is as hot as this ever got. I love it.

Listen especially to what Weir does just under Garcia’s ripping lead. His interjections

are legendary here. The return to the final chorus and ending are utterly perfect, as you

probably already know. One aside: there is very little organ in this mix and absolutely

none in the original album mix.

2. Good Lovin'

Phil rather tentatively begins this and first Jerry, then the others, join in and build it

to a giant platform for Pigpen to ride atop. He sounds fully engaged and the band

plays loud and just edgily enough to keep it very real. The second chorus deflates and

immediately puffs back into a frantic jam led by Garcia playing fantastic, ripping guitar.

It calms suddenly and Pig comes back in with his improv segment. Lesh somehow gets

crossways and plays in a disharmonious key for a few bars, then returns to the planet

the rest of the guys are on. The rap is similar to others in most ways but it certainly

improvised word by word. I get chills as he hollers, “Come on daddy! See about me!”

By 7:00 the band calms and Pigpen decides to come home from his four-day drunk. A

substantial amount of hell breaks loose after this, with the guys veering off into a spacedout rock jam that temporarily quiets our narrator. They get quieter and quieter and Pig must re-enter almost at a whisper. I’ve never heard him this gentle sounding. He needs a little greasin’ and teasin’ and pleasin’, he says. The jam builds as the sex presumably commences, although Pigpen is never totally explicit. He wants to shift on up into overdrive and keep your transmission alive. Soon, Phil and Bobby are playing odd harmony versions of the theme and Jerry finds an even odder harmony to throw into the mix. They shift slowly to the melody and the song reprises. This one is supremely hot, too. Jer even throws in some of the rapidfire licks he would use on much later versions.

3. Sing Me Back Home

Here we have the first version on the tour of what would end up being a long string of

takes. Maybe they were considering it for the album. Pig is back on organ, lending a

funereal tone to this sad death march. Donna chimes in on the chorus, sweetly. The song is a lengthy dirge and if you are in the mood for that, this version is really beautiful. By the third chorus, Donna embellishes the “come alive” line with nice muscle. Then Jerry lights into his solo and just kills it as Phil goes a few unexpected places. It all works perfectly. This makes the next verse sound that much more poignant. By the time the last chorus arrives, I’d have to say I’ve never heard a better version. Sure, it has its little glitches here and there but overall it kills. The ending is enormous. Love it.

4. Casey Jones

And now for something completely different, as Monty Python used to say. It’s time

once again for that tragic train ballad. Oops, Jerry gets confused coming into the verse.

He doesn’t let this stop him from chugging forward with great steam. In fact, this version is just full of all the right electricity. I wouldn’t be surprised if this song and this take in particular was in consideration for the album. The solo section is off the rails. Weir does some spectacular things just after that. The repeat choruses come up and Billy adds speed. Watch it! The song travels perhaps one bit past it as Jerry wants to end but gets carried by the rest of the guys into one more round. Intermission is called and we hear the Parisians calling out for more music.

5. Greatest Story Ever Told

Presumably the crowd stuck around. Bob introduces Donna and Phil introduces Keith.

The band kicks into this with tons of energy. Jerry and Keith especially grind into their

parts hard. Donna sweetens the first chorus and Bob adds that cool little lick to turn it

back toward a verse. Fantastic. Hear Keith just after the second chorus as he rocks the

keys. Then Jer takes over with a furious run on the wah-pedaled guitar. The changes

in the middle are again suggested rather than explicitly played at first, then they slowly

come into focus until the jam boils over into the return chorus. This is not subtle, it’s

great in every way. The wrap is noisy and sublime all at once.

Ramble On Rose

This thing stumbles a few times before righting itself and coasting into the first verse.

The groove is good by then, though. Jerry sings it in his best 1972 voice and the band

nails all of the accents. Pig heats up the first bridge with whistling organ and the other

guys create a mess of more percussive sounds. The little solo after that has a small hole

in it but once fixed it squeaks like the best of them. This version has enough tiny loose

ends that you can hear why it wasn’t selected for the album, but it’s a nice alternative.

The second bridge is perhaps just a bit more mellow than the first but it ends big. That

leads the energy coming into the last verse and the Paris crowd gets a dose of good

rocking here.

6. Hurts Me Too

Jerry very soulfully leads this in with a metallic slide solo. Pig is slightly flat in his

singing, and this was often the case on this tune. The first verses coast by, full of blues.

“Yes it does,” Pigpen intones quietly just before giving us a taste harmonica. He quits

that after one round and Garcia picks up the slide again and wails. His second time

through is pretty insane yet in tune (compare to later Weir slide solos for contrast) and

Godchaux helps land it with a cluster of chords. Back to Pig for a verse. High marks for

playing, kind of low for singing. The ending is trashy fun.

A review of May 3 Olympia ,Paris Show by Steve Seachrist,

Part 1

Steve Seachrist is a Deadhead, musician and a very good reviewer of Dead music, He writes in Musicians and Deadheads language, He has reviewed every Live CD that the Dead have released, Which is quite alot. I am priviledged to have Steve share his review of one of the concerts from the new Europe 72 Box Set. This is a show that I have ordered. Enjoy.

Europe ’72: The Complete Recordings – Paris, France 5/3/72

Overview

Thus begins a two-night stay at the venerated Olympia Theatre in Paris. Please do read

the liner notes to this one, again written by the highly enlightened Steve Silberman. And again his insight gives me license to just let him provide all of the context. That makes me very happy. But here’s a bit about the music played this night: first and foremost, no fewer than four songs were selected from this very gig for the original

Europe ’72 album: “China

 Cat Sunflower”, “I Know You Rider”, “Tennessee Jed”, and “Jack Straw”. These are

centerpieces of that album and became the definitive versions for the vast majority of

Dead fans for a long time. Am I overstating this? I don’t think so. Taping became a
huge phenomenon later, but for a while, these were the ultimate in live versions. In my
mind, this is still pretty much true. I love other versions, but these are to me the pinnacle of what was possible. There are good reasons these were selected for overdubbing and subsequent release. They’re just incredibly hot, even next to versions played either side of this date. Go ahead, argue with me. I want to debate it.

The sound quality has taken a noticeable turn for the better over the past couple of shows, although it is still perhaps one notch inferior to earlier releases from the tour, like

Rockin’

the Rhein 

or Steppin’ Out. Here’s hoping whatever was plaguing the sound has been

 improved from this show on out.

Disc One

1. Bertha

The Paris crowd is already rowdy at the top, clapping in rhythm and cheering loudly.

The band warms up only for a second, then lights into this contender for tightest “Bertha” of the tour. This song had recently (in 1971) been released as a live version so there was little chance it would appear on the live album being recorded on this tour. Maybe that allowed them to loosen up a bit and just pummel it. Pigpen adds nice organ colors, Keith is a god of piano fills, and Jerry hits this out of the park in terms of singing and playing. Oh, sure, the other guys are all over it too. When the guitar solo hits, it is fantastic. I thought the one on  

Skull and Roses was the monster (and it is) but this one is every bit as

 hot and I never thought I’d say that.

2. Me and My Uncle

Another refugee from 

Skull and Roses comes up here. Before it does, a woman speaks

 some French to the audience. Weir chimes in in German. Prankster! The song comes to

life full of the same flavors that “Bertha” enjoyed only moments before. It is a very hot

version from the top to the tail. The solo is completely without peer. I do not know how

a band can get lit up to this extent, I really don’t. But here they are supernaturally great.

Every single note and nuance is as good (probably better) than you have ever heard it.

3. Mr. Charlie

This grooves so deeply I am having a hard time understanding how any version could

beat it. Jerry’s solo is certainly better than the official version. It is scary and thrilling in

ways that cannot be explained. The return to the verses is full of electricity and I rate this absolutely essential in the annals of “Mr. Charlie”. Wow!!

4. Sugaree

This easily could have been a contender for the original album. It is so solid and confidently played that it must have been on the short list. It is interesting that this tune

and the next one appeared on the live album from two years later, the universally-reviled

Steal Your Face

 I don’t hate that album as much as most folks, and I do see it as another

noble attempt to present previously-unreleased live songs, a lot like

Europe ’72. But

 back to this: the song is so completely full of the vibrancy you want that it is utterly

undeniable in its ascendancy to the top of the Europe heap. It’s the best so far.

5. Black Throated Wind There are so many great versions of this on the tour already, I didn’t know if this one could possibly beat them. Sound quality alone could give this an edge. It is played magically, too. Typically, Jerry’s lines make the biggest impact, but Bob’s singing and Phil’s contributions are killer and Keith and Billy nail their respective parts. Just when you thought you’d heard the best one, here comes this! Dig it. It is superlative, and I don’t use that term loosely.

6. Chinatown Shuffle

This version is perfect in its context here. The sound rocks, the playing is hot, and

Pigpen has never been in better form. If I had to nit-pick with a gun to my head, I’d say

Jerry may have nailed the guitar parts a little better on other versions but I am certainly

not going to complain. This is worthy of all the love you could invest in it. It is also a

necessary Pigpen interlude to the next tunes, which happen to be the ones selected for the

Europe ’72   

album.

7. China Cat Sunflower

I’m really excited to hear this, since every nuance of the official version is burned deeply into my brain. Jerry gets the riff straight quietly then snaps to for real. That groove is undeniable – it is the one. To my ears, the vocal we are hearing here is the original one and the more familiar one was overdubbed. They are so close, I could be wrong. When “diamond eye jack” is sung, I know I am right. The instruments do precisely what you remember but they sound huge here. The instrumental bridge is like a Technicolor version of what you know. The last verse is again just different enough that you know there was a later revision. As the jam develops, it is that totally familiar sequence of  sublime playing. And, yes, there are very good reasons why this concise little version was the one selected. It gives me chills to hear it like this. Jerry comes to the fore more so than other versions before the quick set-up to…

8. I Know You Rider

This sounds exactly like the vocals we know. Either they got it perfect live, or we are

now hearing overdubs. I’m going to guess the latter – it is too good. After the “wild

geese” verse, Jerry plays that exact solo we have imprinted in our brains. The next

chorus is that sweetened stuff you’ve heard so many times. Ditto the Jerry “train” verse

and the following chorus. Then the solo blows the roof off. Is it overdubbed? We don’t

know for sure but it sure is inspired. This is what Grateful Dead dreams are made of.

Whether live or contrived, it is pure magic. The crowd goes for it.

9. Beat It On Down The Line

“How many?” someone, probably Jerry, asks. Answer: nine. The version is as hot as

anything preceding it at this show. Every nuance is in place and the full-on Grateful

Dead X-Factor is on display. I don’t want to disparage the earlier shows but we have

serious lift-off here. There is no contest, even though earlier versions were great. This

one is better. We have finally reached our happy, happy home.

Weir mumbles some faux Francais at the end.

10. He's Gone

You’ll notice right away that the opening riff is that static one from earlier versions but it switches halfway through to the one we all know and love. That aside, there are tuning issues and the song is oddly grooveless. I can’t explain this any better than anyone else could. The air has somehow escaped the balloon. The efforts here all sound less than half-hearted. How did this band suddenly become nonchalant after so much magic? That is the eternal Grateful Dead quandary, and the reason we keep digging for the gems. This is certainly not one of them. As of the previous show the arrangement includes an instrumental bridge, a guitar solo that is only the verse part, and then the vocal bridge. That’s what we have here. The final verses are still undercooked and the ending just self fades unceremoniously. This version is easily my least favorite on the tour so far, even given the unfinished arrangements of some earlier ones. A lot of crowd cacophony and tuning precede the next number, but no one in the band says anything.

11. Next Time You See Me

Pig to the rescue again. There is no way to play this song without some level of commitment. The band comes back to life and pushes the blues buttons. After the first

quick verses the harp solo takes over for two rounds and Jerry is then given the stage.

He plays a couple of verses of moderately hot blues licks and hands it back off to Mr.

McKernan for more harmonica blowing. It’s fine and all, but not the definitive version

you may have been hoping for. It does include two verses at the end instead one, which I think is one too many.

12. Playing in the Band

No introduction of Donna precedes this but she is there on the first chorus, mixed

pleasantly low. The verses are powerful and relatively in-tune. When the time comes,

a reasonable bellow emits from Ms. Godchaux. One more chorus gets us to the jammy

zone and it goes to the watery depths immediately. After a minute, the heat is up there

with the best of these short versions and redemption is nigh. It is hard to deny the powers of any of these versions of this song. The X-Factor is on tap at all times. Before 7:00, strains of the return theme can already be heard, but do not let that get you down. Jerry works on the tease a bit more and then does get to it more explicitly. As concise as it is, this version satisfies. The drop to the actual theme is less dramatic than some on the tour, but once it arrives, the fanfare into the chorus is pretty big. Donna screams us in well and the final rounds are full of hot energy. Overall, not my favorite, but most of the many versions on the tour are very solid, including this one.

"Europe 72" - Volume Two - Review

I have had this set for about a week and I go back and forth on it. I loved "Europe 72" ,it turned me on to the Dead, back in the day. I have the '03 Rhino remastering of it, as I have gone from 2 sets of LPs in the Seventies, to a Cassette version, then to 2 versions on Compact Disc, the original in '91 and also the remaster by Rhino (which is done in HDCD),which I love , both CD versions are very good, but Rhinos' really opens it up and you can just hear everything in the recording,also,it is tonally exquisite.

  This Volume Two was a great idea, but I find the sound quality a bit disappointing at times, especially for Rhino, but most people who are used to mp3s will not notice anything, Digital recording has set new standards for what and how folk listen to stuff. There is some distortion in places, I find listening to it on a regular CD Deck as opposed to a HDCD deck makes it sound better. There are some very good performances on here, a great version of "Greatest Story Ever Told", an inspiring "Sing Me Back Home" (Haggard) with some pretty harmonies on it, even Donna Jean sounds good on this song. I find that Disc Two has a deeper tonal quality to it. Also it ends with a very good rendering of "Not Fade Away- Going Down the Road Feeling Bad". This is a good companion for the original Europe 72, no songs repeated. It is culled from the 73 disc remix/remaster of the whole Spring Grateful Dead Tour, which covers 22 shows, in 73 Discs. I have not heard any of those, so hopefully there are no sound problems with that box set which you can still get from dead.net for $450.  

www.dead.net

Interview With Dennis McNally, About New Europe 72 Box Set

 This is a short interview I did through an e-mail conversation with Dennis McNally, longtime publicist and historian for the Grateful Dead, some info from his view about the highly anticipated release of the Europe 72 Box Set, which is easily the Group's biggest undertaking, containing 22 full shows performed on the Europe 72 Tour, in a format of 73 HDCD CDs, with the first 7,200 versions in a fancy trunk with extras and personalization's and the rest after that are music only, the 73 CDs in Digipak packaging. Also, there is being released a Europe 72 -Part 2, which contains songs not on the original Album.


1. Dennis,your book about the Grateful Dead is the one I go to when I want to find something out, it's like the
textbook of The Grateful Dead, you were there, as publicist alot and also as Historian, moreover, you were there, from the beginning. How excited are you about this release of the Whole Europe 72 Tour, Twenty Two Shows, Seventy Three CDs?

It's unquestionably, overall, the best tour in the band's history.  And of course it was recorded in 16 track, so now what you're going to hear is the best possible version... so yes, I'm excited/impressed/very pleased that Rhino pulled the trigger on this.

2. This original 3 record set of "Europe 72" turned myself and many others on to the Grateful Dead. Back Then, Did the Organization think that this recording which they had put so much into would turn out to be as big and influential as it  was?

  By the time of Europe '72, the band had already put out six albums.  Though Workingman's Dead and American Beauty had done well, their overall experience with the record business had been mostly a little disappointing, even though they recognized that Warner Bros. had actually treated them pretty well.  So, no, I doubt very much that they had any wild expectations of the results of Europe '72.

3. Just to keep this short, any special memory of the tour, that you would like to share?

 I'm lazy - I'm going to give you the story as I wrote it in the book....


"It was during their second and last night in Paris that the most hilarious adventure of the tour began.  A young Frenchman approached the band at the theater and began arguing about their lack of political consciousness.  To Kreutzmann, it seemed "obvious he wanted free tickets."  They put him off, and he moved his harangue to Cutler and Rex Jackson, getting no satisfaction.  When everyone returned to the hotel, he took up a position in front, bracing every member of the tour party as they came in or out. He was wearing a velvet jacket, which caught their eye, and when they eventually concluded he'd become a bore, Rex dumped ice cream on the jacket he was so proud of, and the Dead all had a good laugh and went to bed.  While they slept, Monsieur la Politiquehad his revenge, introducing a foreign substance into the equipment truck's gas tank.
         The next day they were scheduled to play Lille, a very political college town.  The buses and one truck arrived, their equipment truck did not.  No amps,no show.  The promoter was not able to offer instant refunds -- according to some memories, he was unable to offer refunds at all.  Sensing trouble,the streetwise Garcia decided that honor did not require going to the hall, and along with Kreutzmann, elected to stay at the hotel.  "You guys are nuts" was his analysis.  Phil and Bobby went out on the stage and talked to the audience, but "Pasde musique" was about the best they could muster, even after Weir's five years of high school French. "It quickly became my job to explain to a crowd of irate Frenchmen just exactly this -- no show tonight, sorry about that.  I got three or four sentences off before the crowd became very surly."
         Ushered offstage into the dressing room, Lesh, Weir, Rosie, and a few others suddenly realized they were in deep shit. The audience was furious, convinced of American perfidy, and though no one was thinking in terms of death, Weir thought "they woulda thumped us good and proper."   The door to the dressing room had a window, and they covered it with newspapers and considered their options.  Other than being thumped, there was only one: climb down the drainpipe to the top of the truck, jump down on the hood,then to the ground, and run run run for the bus, which was waiting with the engine idling.  The furious Frenchmen began to pound on the door, and as the hinges started to creak, Dead family members began going out the window.  A gentleman to the end, Weir's main worry, as he thought about it later, was getting the interpreter, Rosie McGee, and photographer,Mary Ann Mayer, down the drainpipe. That accomplished, he turned to the promoter, promised they'd make up the show, dropped a rose on the sill, and scooted down the pipe like the part monkey he was.  He was on the roof of the truck when he heard the door give way, and he hit the ground running for "what physicists called the absolute elsewhere, in a big hurry."  A couple of hours later, after wrapping themselves around some good Bordeaux, it was all pretty funny, but it had been a near thing." 

From Dennis McNally's Book "A Long Strange Trip: The Inside History of The Grateful Dead"
(available on Amazon and where fine books are sold"

www.Dead.net