![]() The remastered version is 132573_sbd, but School Girl is patched on sbd_16track_kaplan-6315. SOURCES: "SBD" is a misnomer – there is no two-track source made on the live board, only 16-track mixdowns. Good Morning, School Girl – the right amount of everythingĭoin' That Rag – concentrating on a precise version Cosmic Charlie is tighter than a sardine butt and a superb finish. The long middle vamp is a you-had-to-be-there moment. Love Light isn't the best of the era (since we have almost 100 of the more than 100 they played in '69). I made a copy that lessened the abrupt patch by crossfading with 132573_sbd. However the OFF has a Duophonic mono patch. The 16-track/SBD has a cut of 32secs at 11mins. The original LP cuts away to an earlier The Eleven, but this version is just as good! The Phil maelstrom is impressive, if also bewildering. Stephen, "It’s big, bold and has both punch and crunch." I like it because it has distinct sections, all played well. I like the original vinyl, followed by the the 2001 CD remix. Personally, I don't prefer the box mix that moves Jer's guitar around in the stereo image, and the "SBD" is kind of dry. You can hear Bobby best on Live/Dead, which also has a little added reverb. The box set version turns up (and adds reverb to) Jer's guitar and vox, and mixes out some elements, like the guiro. It's probably redundant to say more about this Dark Star that so many have memorized over the decades. Of course the end of this is the beginning of side one of Live/Dead, so it was exciting for every Head to hear this pre-intro for the first time. Mountains of the Moon is also the sixth one and has a great jam. Dupree's is the sixth one, and it's interesting to note this was the first time Jer & Bobby played acoustic guitars together on a San Fran stage. Bobby says they are bringing out the monkeys, but he does not mean Nesmith & Dolenz The stuff they'd been playing every night was certainly solid, but it's played with an awareness of being captured by the pioneering crucible of 16-track technology. A 3-song first set was not unusual at the time, especially on a bill with other bands. So Many Roads has better separation here the box mix has louder drums. The next night actually has the That's it for the Other One Suite that they were looking for, though this one is still quite good. Billy then joins for an archetypal Doin' That Rag. This is a classic version, with just the right amount of everything. On the OFF, the first 51secs are from 4/25/69. The first 13secs of Good Morning, School Girl are AUD-only. It would be silly to describe them since LIA already wrote a scholarly analysis.įirst Set. ![]() The show has appeared on five OFF releases (6 counting the Live/Dead remix), and there are four distinct mixes of the material. They did this for four nights but it was this show that had the most consistent performances. Aware they are recording for prosperity, they focus accordingly, playing a specific set. The band had just played the FillW the week before, but booked these show for intentionally making a live LP, hauling a then-newly-invented 16-track machine up the stairs into the ballroom (still huge, heavy, w/fragile tubes). This run came the day after gigs by Mickey & the Hartbeats. And for good reason – it' s one of year's top few shows. To the tape collectors it became one of the long-beloved, historic shows. It also has the sequence that caused several generations of Heads to first buy tix out of curiosity, after they put the needle on Side 1 of Live/Dead (and Side 2) several times. ![]() This is one of the quintessential, must-hear Dead shows.
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