Grateful Dead - Fillmore East 2.27.69 Set 2

Grateful Dead, Live at the Fillmore West February 27, 1969
Set 2

Dupree's Diamond Blues (YSI link)

Mountains of the Moon

Dark Star (YSI link) --->

St. Stephen --->

The Eleven --->

Turn On Your Lovelight (YSI link)

Cosmic Charlie

Here's the conclusion to the first night of the epic four-night run, the late show from February 27, 1969. This is classic 1969 Dead, the classic tunes from that year, when the band was playing right on the line of psychedelia and the blues, when Jerry Garcia began to take the reins of the band and made them into one of the most amazing improvisational acts around.

One of the things that has always interested me in the Dead's live music has been that tension between form and chaos. "Dark Star" is the perfect example, with its distinct opening bass melody and two verses which descends into an improvised jam that could go anywhere, oftentimes into a deep, space-y, tune-less music, which is eventually reined back in with the return of the final verse. It should appeal immediately to anyone who likes jazz, that world where standards become vehicles for free jazz debauchery. Like jazz, there's always a chance for these jams to become awful, noodling garbage, but that's the fun part. You never know what could happen, which is incredibly rare in music, especially today in the world of over-production and lip-synching.

I want to dedicate this post to MC, a.k.a. RV. That's right, the return of the prodigal daughter (or ex-girlfriend, whatever). She was the main reason this blog took in the way it did, as I pretty much wrote it so that she would think I was cool. She was the first muse, before Scarlett Johansson, Merilyn, Christy Marks, JH-B or anyone else. She bought the boxed set that features this music for me and so these posts would not happen without her. It's nice to come full circle and get back to a good place. Yeah!

Grateful Dead - Fillmore East 2.27.69

Grateful Dead, Live at the Fillmore East February 27, 1969

Good Morning, Little School Girl (YSI link)

Doin' That Rag (YSI link)

The Other One (Cryptical>Drums>The Other One>Cryptical) (YSI link)

Over the coming months, I want to start adding a more psychedelic edge to the blog, take things back to the late 60s and early 70s to those weirdo sounds that sound so good today. I can't think of a better way to get started than commemorating one of the greatest weeks in the history of live music by the greatest of psychedelic warriors, the Grateful Dead's run at the Fillmore West from February 27 to March 2 1969. I know that the Dead's music is not what we call psychedelic today, but let's not get lost in semantics. This was music written and performed in the midst of the acid wave in San Francisco in the 1960s; these guys took rock, blues and folk, splashed LSD on it and made some of the best music ever.

I'm going to put up more discs from this limited edition 10CD boxed set over the next few days and will discuss the music more then. But, I want to first deal with the whole Deadhead thing and the hate these guys generate from people. Simply, get over yourself. Yes, some people only liked the band because of the drug association; some were annoying people who listened to nothing but the Dead; blah blah blah. These dudes created an entire alternate world, which had its own values, values like sharing, love and fun. Sound familiar? Does it sound similar to a lot of the same inspirations for the dance music that we love? There's a very straight line imo between the spinners at a Dead show to the ones who took over lofts of NYC in the 70s and the beaches of Ibiza in the 80s. Give it a chance and I promise you that this music will melt your face.

Roy Orbison - Only The Lonely

Roy Orbison, "Only The Lonely" (YSI link)

Roy Orbison, "Crying" (YSI link)

Roy Orbison, "It's Over" (YSI link)

Roy Orbison, "Heartache" (YSI link)

Ugh, I had a terrible Valentine's Day, a lonely, sad one that just sucked. You know it's bad when you find yourself at the Duane Reade pharmacy at 9:30 picking up a prescription, ugh. Sometimes, you just have to accept that you are feeling down and it's always nice to know that there is so much music made just for those moments.

It seemed natural to focus our next post on one of the greatest at speaking to the broken-hearted, Mr. Roy Orbison. I first heard Orbison's music when I was probably 8 or 9 years old, can even remember the moment when I was made aware that this music was special music by my father. We were in the car back from a soccer tournament and an Orbison Greatest Hits tape was put in and my dad told me about the man in black with the greatest voice of all-time. I didn't like it at first, probably because it was so far from my first love of hip-hop, plus it was a recommendation from a parent. But, these songs wouldn't have made sense to me then anyway; I was too young to understand what this guy was singing about.

As my man sang, "Only the lonely know know why I cry, only the lonely." Indeed. At a certain point, this music makes sense to us all, as no one escapes unscathed. For sad music, though, it sounds so beautiful, majestic at times, it doesn't hide in minimalism and off-notes. Strings, backup vocals, an early rock/abilly sound slowed down, hints of doo-wop, fans of the Jens Lekman can hear one influence on his music. If you are discussing Orbison's music, there's one aspect that you have to mention, that you speak of in awe: that voice. Maybe the greatest to ever grace pop music, it can hit the high notes and go down low with authority. Listen to it on "Crying," it covers the entire vocal range in an almost operatic style and makes a nearly three minute rock song sound like so much more. There's not much to add to all of this, these songs above are some of the saddest you'll ever here, a reminder of the other side of all those great love songs. I'll end with the lyrics to "Crying," my favorite:

I was all right for a while, I could smile for a while
But I saw you last night you held my hand so tight
As you stopped to say hello
Oh, you wished me well, you couldn't tell
That I've been crying over you, crying over you
And you said, so long
Left me standing all alone
Alone and crying, crying, crying, crying
It's hard to understand but the touch of your hand
Can start me crying

I thought that I was over you
But it's true, so true
I love you even more than I did before
But darling, what can I do
For you don't love me and I'll always be
Crying over you, crying over you

Yes, now you're gone and from this moment on
I'll be crying, crying, crying, crying
Yeah, crying, crying over you

Whew. Try to top that. Thank you Roy for reminding us that it's okay for boys to cry.

I highly recommend buying the two disc The Essential Roy Orbison, which does a nice job of compiling the man's hits for a nice price. It can be a good way to get started and it allows you to get a comprehensive look at the man's career across labels. It isn't all sad songs, for the record, "Pretty Woman," "Dream Baby," etc., it's all essential.

New Order - Krafty Remixes

New Order, "Krafty (The Glimmers 12" Extended Mix)" (YSI link) 320

New Order, "Krafty (Phones Reality Remix)" (YSI link) 320

New Order, "Krafty (Riton Re-Rub Remix)" (YSI link) 320

Sorry for the lack of posting, but we've been struggling with work, poor health and a lack of inspiration lately. To help us get back in the swing of things, let's hit this softball out of the park. I mean, it's New Order remixed by three of my favorite current producers, The Glimmers, Phones (Paul Epworth) and Riton. They gave their interpretations of one of the decent tracks from the Waiting For The Sirens album that came out in 2005. I mean, if this isn't the Pound for Pound equivalent of a belt-high fastball down the middle, I don't know what is. Speaking of which, what's up Phillies? Do not let this moment pass, please.

Anyway, all three of these remixes are solid, each offering a nice take on an original that has that typical New Order synthesized indie sound. Ironically, it's the one that most closely hews to the original that works the best for me, as The Glimmers have stripped the original of its more bombastic, overwhelming sound and given it a much more shimmering, disco-fied feel. I'm never great at describing changes, but it seems that the drums have been reprogrammed, they've taken out the drone-y synths and allowed the bass to come up in the mix.

The Phones and Riton version stick out the most, messing around with the vocals and pacing quite a bit. The Phones Reality Remix keeps those soaring synths, but makes them more of an embellishment, far from their role as centerpiece in the original, as a wicked bass, bleeps and propulsive drums create a raging monster. It actually might be too intense, as there's no-let-up in the seven-minute track. The Riton re-rub has a similar vibe but stays on a more relaxed pace. The jagged bassline is nasty, the percussive elements provide some nice flourishes and the less intense pace sounds more right to me. The chopped-up vocals actually give the remix more room to do its thing, as a New Order song is such a distinctive thing, it's hard to let loose with their stuff. At times though, I feel like Riton tries to do much, like the synth smears around the 4:20 (dank!) mark don't really fit in my opinion and the whole thing sometimes seems a bit too busy.