After amassing countless hours of officially released live Dead shows I had to stop and ask myself if I have, just perhaps, too much? And if so, why did I just go and order two more live releases from dead.net?

Back in February, Wifey got me three shows from Europe ’72: April 24 Rheinhalle, Dusseldorf (previously released as Rockin’ the Rhein), May 11 Rotterdam, and May 26 at the Lyceum, London (the last show of the tour, a large chunk of which was used on the original Europe ’72 album). She decided to leave out the fourth show on my wish list, April 26 at Jarhunderhalle, Germany (previously released in edited form as Hundred Year Hall) since just those three shows alone were 12 discs of Dead. 12 discs. I get it, it’s a lot. A whole lot.

But man, I want more.

It’s been almost 2 months now and I still haven’t even cracked the plastic wrapping on the May 26 show. I have been deeply enjoying, immensely I might add, the true beast of a show that is April 24 Rheinhalle. It smokes right out of the gate with a superb “Truckin’” and doesn’t let up until the last notes of “One More Saturday Night” ring throughout the hall. It’s so good, and so long, I’ve needed all this time just to digest it and I’m still not done with my total aural absorption.

And then there’s May 11 Rotterdam, which is simply stunning. It has been blowing my mind with superbly played songs, a devastating “Dark Star > Drums > Dark Star,” and immaculate crystal clear sound. Both 4/24 and 5/11 are so immensely awesome that I just can’t get past them. I listen to them all week long and then I listen to them again. I think about them while I’m sitting in the office not listening to them, and think about how much I want to get in my car and crank them up. Meanwhile 5/26 is sitting in my collection just waiting to unleash its most assuredly awesome sonic adventure.

So, with all that, why would I go and order two more shows? And not just any shows but the previously mentioned four disc 4/26 Germany show and the newly released, and now sold out, 3 disc Dave’s Picks Vol. 2 from July 31, 1974 at Dillon Stadium in Hartford, CT. That’s 7 more discs right there for a total of, if my math is correct, 19 discs of live Grateful Dead material in just shy of three months!

That’s a heck of a lotta’ Dead for sure. But, is it too much? Have I gone completely insane in my attempts to connect with total Zen bliss that can be found in the best versions of this song and that?

What is it about the Grateful Dead that make them so damn interesting? Well, there’s just something there, something that is simply indescribable and powerfully beautiful. It’s a feel, a vibe. It’s something that unless you’re on board you just can’t understand. I’m on board and even I don’t understand it. Do I really need to hear another version of “Playing in the Band?” Do I really need 4 shows done on the same tour, all recorded within weeks, and in some cases DAYS, of each other?

Yes. Yes, I do. Because man, I am simply hooked on the Grateful Dead.

After running a few calculations, my live Dead collection stands at 83 discs. That’s eighty-three. I know that sounds like a lot, a veritable ton, but the thing is that when it comes to live Dead, it’s not about the number of discs or the total hours (no, I’m not doing that math). No, it’s about the whole organic experience that is a single live Grateful Dead show (or at the very least, a collection of songs from specific shows).

Among those 83 discs are 25 distinct shows (thereabouts, some of the releases are compilations of multiple shows) that each have their own personality, flow, decade, sound, and uniqueness. Some I reach for to enjoy the long days of summer, while others work best on a cold Autumn night. Some are perfect in the morning, others in the afternoon. And what those shows mean to me will mean something completely different to the next person. It’s quite remarkable really, that one band could touch so many people, on so many levels, and somehow still manage to keep us all interested after so many years. There’s nothing quite like the Dead and there never will be again.

And of course I still need to pick up the Grateful Dead Movie Soundtrack from October of ’74, and there are a ton of Dick’s Picks, Road Trips, and other assorted shows I’ve missed…the obsession will surely continue.

Trust me, we’re still here and we’ll be rocking it soon enough.

*insert cricket sounds here*

In our excitement to discuss the previously unheard gems on The Complete James Brown Christmas, we neglected to talk about the pure perfection that is James Brown’s Funky Christmas. Turn it loose, ‘cus it’s a mother…

Funky Christmas, later remastered and renamed as 20th Century Masters: The Christmas Collection, is the one that we reach for every December 1 to kick off the Holiday season. If there is a perfect Christmas album, an album so stunning it could almost be listened to year round, this is it. Its James Brown recorded at the peak of his powers between 1966 and 1970 belting out both Christmas classics and funky originals. Fantabulous!

What I always marvel at every year – and surely wifey gets tired of me saying this – is just how amazing it is that JB could make such a stunning Christmas album full of song after song of  pure holiday perfection. These songs aren’t just throw-away novelties to be strewn about like so much discarded wrapping paper. No, these are real songs by real musicians with heart and soul and everything else. JB is just as passionate singing these songs as he is singing “Cold Sweat” or “There Was a Time.”

So, how does James Brown start his holiday season? With “Go Power!” Oh man, that horn line smacks you right in the face with good time Christmas cheer that doesn’t let up until the last note fades away. It’s a classic JB session that includes screams, yelps, and some fantastic JB mutterings about the good old days.  Wifey and I often tell each other we need to find some “go power” just to get through the season…

“Let’s Unite the Whole World at Christmas” finds JB pleading for happy faces and good times over top of some wonderfully emotive music. This small slice of quiet contemplation is the perfect lead-in to the always awesome, always fantastic “Santa Claus Goes Straight to the Ghetto.” Of all of JB’s Christmas songs, this is probably the one most people have heard, or at least heard of.

The band sets up a very funky beat and JB goes into full-on pleading mode, calling on Santa Claus to make a stop in the ghetto for everyone there. It’s funky and emotional at the same time. Heck even JB gets a little upset when he ad lib proclaims “I never thought I’d realize, I’d be singing this song with water in my eyes…” There’s a reason this song became somewhat of a hit, it’s a JB classic in the truest sense of the word.

“Merry Christmas Baby” finds JB in a very blue mood with some uniquely distinctive vocals and a wonderful late night feel. Methinks he may have hot a hot toddy or two during the recording, as he most definitely sounds “lit up,” although that’s probably more just pure emotion than anything else. Of course, by the time “Let’s Make This Christmas Mean Something This Year” rolls around all bets are off and JB is back into his thing with a fury.

Things start off easy enough, a simple beat, some nice violins and girl group backing vocals. But then something spectacular happens. The very spirit of Christmas, the very spirit of everything that makes this such a magical time, the very soul of everything good, comes pouring out of James Brown in a stunning and emotional display of gut wrenching screams. He continually straddles that fine line between singing and preaching, and along the way he screams his sweet old soul right out of the speakers. It is positively electrifying to hear this much soulful Christmas emotion coming from one man. Of course, it’s James Brown so I would expect no less.

Speaking of soul, “Soulful Christmas,” man, what a killer groove that is! The band lay down a sparkling stop/start riff that will most definitely get your party swelling to epic dancing proportions. Good God indeed!

“The Christmas Song” and “Sweet Little Baby Boy” remind everyone what a wonderfully controlled singer Brown could be when he settled down long enough to sing something slow and sweet. In direct contrast is the hard hitting pure funk of “Christmas is Love” that is guaranteed to set you soul on fire. What more do you expect with bottom rattling bass, chicken scratch guitar, and James Brown saying the word “fantabulous” more than a few times?

“Please Come Home for Christmas” and “Santa Claus is Definitely Here to Stay” are two more tracks that feature nothing but pure emotion set upon simply beautiful musical arrangements. The horn lines in “Santa Claus is Definitely Here to Stay” are especially gorgeous and even on the instrumental version available on The Complete James Brown Christmas, it still manages to move me to tears. Hey, it’s emotional, what can I say!

“Tit For Tat (Ain’t No Taking Back)” provides only slight funk relief before the gut wrenching and emotional devastation that is “Santa Claus, Santa Claus” ravages your very soul. Jeez, this is one of the saddest and most powerful Christmas song I have ever, ever heard. It’s downright heartbreaking and yet so utterly beautiful that whenever it comes on everything in my world stops. Brown calls upon his poor and tumultuous upbringing to deliver some heavy, heavy lines about how hard things are and that without anyone to help him he has to help himself. I hope you can take some time this season and truly listen to this song and contemplate the pure emotion Brown is experiencing. It just might make you a better person.

Whew, after such an emotional toll JB brings everything back with some wintery funk in “Merry Christmas, I Love You” and the bright, bouncy, and almost slinky rhythm of “Signs of Christmas.” One last beautiful ballad is found in “Christmas in Heaven” before the entire album signs off with “Hey America,” a stunning slice of 70s funk  that simply cooks.

So, there it is. James Brown’s 20th Century Masters: The Christmas Collection in all its glory. What a fantabulous way for JB to say he loves us. We certainly love him and everything he’s given us. Thanks, thanks JB, for all the wonderful music. And let’s make our next year be just as good.

You are always definitely here to stay.

Tracklist

1. Go Power At Christmas Time – 3:11
2. Let’s Unite The Whole World At Christmas – 2:43
3. Santa Claus Go Straight To The Ghetto – 3:02
4. Merry Christmas Baby – 3:55
5. Let’s Make Christmas Mean Something This Year – 6:30
6. Soulful Christmas – 3:08
7. The Christmas Song – 2:43
8. Sweet Little Baby Boy – 5:16
9. Christmas Is Love – 6:01
10. Please Come Home For Christmas – 3:23
11. Santa Claus Is Definitely Here To Stay – 4:23
12. Tit For Tat (Ain’t No Taking Back) – 3:05
13. Santa Claus, Santa Claus – 4:02
14. Merry Christmas, I Love You – 2:32
15. Signs Of Christmas – 4:38
16. Christmas In Heaven – 2:55
17. Hey America – 3:55

Between 1966 and 1970, James Brown recorded three stellar Christmas albums. For years the only readily available versions of these albums were single compilations such as the original Funky Christmas and the remastered (and wonderful sounding) 20th Century Masters Christmas Collection edition of that same album (a short review of that album can be found here). While these albums are indeed excellent, I always wondered what was left on the cutting room floor and now, finally, after years of waiting, my Christmas wish has come true.

The Complete James Brown Christmas contains all three original Christmas albums – 1966′s Christmas Songs, 1968′s A Soulful Christmas, and 1970′s Hey America – spread across two discs with a generous serving of gravy bonus tracks for good measure. If you’ve ever wondered what these original albums sounded like, now is your chance!

The first thing we should comment on here is the sound, which is most certainly impeccable. But, how does it compare to the 2oth Century Masters edition? Well, after a few weeks of exhaustive research we can honestly say it’s not too different but there are indeed differences. Generally speaking, the sound has just a smidge more clarity than the 20th Century Masters edition, although with that clarity comes a bit of loss in the bottom end. In a head to head play, most of the songs on the 20th Century Masters edition had just a bit more funk in the mix thanks to a slightly heavier bass and thicker sound.

After much deliberation we actually prefer the mastering on the 20th Century Masters edition although you would probably never even notice except during the most critical listening sessions. Note: “Hey America” is a full 20 seconds shorter on the new release, a decision that is quite perplexing considering this is the “Complete” James Brown. There is also an instrumental track version that really brings the funk to the forefront.

Mastering aside, the real reason to pick up this set is the pleasure of hearing all the songs that didn’t make the original compilation (or, if you’ve never had any of the JB Christmas albums, getting it all together in one place). Considering how fantastic all the material is I can imagine how difficult it must have been to choose a track list for the compilation album. That being said, the track list on the comp is and always has been absolutely perfect. Try as we may, we just can’t listen to it any other way and instead chose to reassemble all the songs that weren’t on the 20th Century Masters edition into a James Brown Christmas Volume 2 disc. And you know what? Christmas just got twice as funky.

Our “Volume 2″ looks something like this. Well, exactly like this actually.

“I’m Your Christmas Friend, Don’t Be Hungry” is almost as great an opener as “Go Power” and quickly sets the tone for a funky Christmas night. At times sounding a bit like a spokesperson for good health and exercise, JB delivers some impassioned vocals about being your friend. Very nice. “This Is My Lonely Christmas Pts. 1 & 2″ hits a late night jazzy stride complete with some wonderful JB organ, note perfect horn lines, and some very tasty string accompaniment. “The Christmas Song (Version 2)” is an alternate take that is just as soulfully powerful as the original, while the alternate version of “Santa Claus is Definitely Here to Stay” is as tearfully beautiful as always. The instrumental version of this song is simply beautiful, and peels back the layers just enough to fully realize what a splendid and gorgeous arrangement this song really is. Those horn lines, that melody, amazing!

Throughout the album are some wonderful slices of cocktail Christmas jazz, brimming with organ, horns, and some excellently placed vibes that sit just right for the holiday season. Tracks such as “You Know It” (present in a vibes version and a searing, smokey organ version), a very funky “Christmas is Coming,” a hypnotic “In the Middle,” a fantabulous “Believers Shall Enjoy (Non Believers Shall Suffer)” (also present in a both vibes and organ version), and a cheerful drink-in-hand “Santa Claus Gave Me a Brand New Start,” remind everyone that James Brown and the band were hitting a serious musical stride during this period. You will dance. You will groove. Oh yes, you will.

In the Mook household, it just isn’t Christmas until the JB Christmas albums come out. The season starts with a funk and doesn’t let up until we can’t dance no more. After years of listening to the absolutely perfect 20th Century Masters edition, The Complete James Brown Christmas was a more than welcome addition. Essential, really. The music cooks, and the quality of the material, along with the fantabulous packaging, makes it a Christmas music gift of epic proportions. We can wholeheartedly recommend picking this up without any reservation. Even if you have one of either Funky Christmas or 20th Century Masters, you need this. It’s just more JB for your Christmas spirit.

And don’t we all need a little more JB around the holidays?

Tracklist

Disc One:

1. Let’s Make Christmas Mean Something This Year - 6:30
2. Sweet Little Baby Boy, Pts. 1-2 - 5:16
3. Merry Christmas, I Love You - 2:33
4. Signs of Christmas - 4:38
5. The Christmas Song Version 2 – 2:48
6. Merry Christmas Baby - 3:55
7. The Christmas Song Version – 2:45
8. Please Come Home For Christmas – 3:24
9. This is My Lonely Christmas, Pt. 1 -  3:03
10. This is My Lonely Christmas, Pt. 2 - 4:49
11. Christmas In Heaven - 2:58
12. Santa Claus Go Straight To the Ghetto - 3:04
13. Santa Claus, Santa Claus - 4:06
14. Believers Shall Enjoy (Non Believers Shall Suffer) - 2:18
15. Soulful Christmas - 3:09
16. Tit For Tat (Ain’t No Taking Back) - 3:07
17. Christmas is Coming - 2:40
18. Say It Loud – I’m Black and I’m Proud, Pts. 1-2 - 4:49
19. In the Middle - 2:45
20. Let’s Unite the Whole World At Christmas - 2:46
21. You Know It - 2:23
22. Santa Claus Gave Me a Brand New Start - 3:49

Disc Two:

I can’t believe it. Here it is the tail end of 2011 and the Rolling Stones go and release their best album since 1969′s Let it Bleed. I’m serious. This is spec-freaking-tacular.

Released as a download only (320 kbps!) on Google Music, The Rolling Stones Brussels Affair 1973 is the official release of an oft-booted album over the past three decades. But there’s a reason this has been booted in such high praise lo’ these many years: it just f-ing rocks. This is the Stones at the peak of their powers. Riding a high of album creativity from 1968′s Beggar’s Banquet to 1972′s Exile on Main Street, the Stones bring everything out to the forefront and rock like it’s nobody’s damn business. Sorry for all the swearing, but this is the most badass live Stones album I’ve ever heard and it’s been rocking me non-stop since I downloaded it a few days ago. Just look at that damn album cover you son of a…

Price is $4.99. Do you see that? $4.99 for a 320 kbps download of one of the Stones greatest live recordings, and one of their greatest albums, of their entire career. Do we live in a great time for music or what?

Ok, so you know how we roll here, how’s the sound? Fan-freaking-tastic! I don’t want to hear anyone complaining about the fact that’s it’s download only. It’s 5 bucks and the sound is fantastic with some excellent separation between the instruments and a nice, thick atmosphere that perfectly captures the excitement of the Belgian crowd. Honestly, I am simply blown away by the quality of this recording, everything being perfectly balanced and perfectly placed. Just amazing.

More importantly, the music is stellar. I haven’t heard the Stones rock this hard, and with this much perfect musicality in, well, ever. Every one’s completely in sync (and in key) and rocking to the fullest extent that Belgian law will allow. Did I mention this thing is killing me? Mick sounds fantastic and is in perfect voice with just the right amount of wild excitement to make everything sound like the party of the century. Meanwhile, Keith Richards and Mick Taylor are blowing guitar riffery left and right to astonishing effect, while Wyman and Watts are holding the rhythm section together like it’s their job…which it is. I mean, they are all just nailing it like there is no other band on the planet at the time. And really, on this night, there is no one else. Absolutely no one else but the Stones, live in Belgium, 1973.

Organist Billy Preston and saxophonist Bobby Keys supply a much appreciated texture to the band, and with their help everything, and I mean everything, just gels to perfection. Every song, every moment, cooks with a rolling boil that constantly threatens to go overboard but somehow, miraculously, never does. It’s perfect. The Rolling damn Stones live on stage in complete perfection.

“Brown Sugar” kicks things off with a stunning swagger that is quickly followed by an almost funky “Gimme Shelter” that is simply brimming with suspense. A ragged “Happy” flies by, followed by the killer groove of “Tumblin’ Dice.” If you thought the versions on Exile sounded good, just wait until you hear these! The riffs explode from the speakers while Jagger presides over everything and one can’t help but picture him prancing all over the stage. Jeez, four songs in and it’s already some of the greatest Stones I’ve ever heard.

Four tracks from Goat’s Head Soup follow with a fire that was sometimes lost in the studio. “Starf***er” rocks out with it’s Chuck Berry riffery while “Dancing with Mr. D” sounds like it should have sounded in the first place with it’s sleazy, stoner riff right out front for all the world to hear. “Heartbreaker” rolls along with a new found funk worthy of this raucous band, while “Angie” is delivered with a heartfelt emotion that finds Mick at his most vulnerable. Just perfect.

“You Can’t Always Get What You Want” finds new life in it’s 11 minutes of rock perfection. Taylor takes a wonderfully pointed solo that pairs perfectly with Keys’ emotive sax solo, while Jagger is drawn in to the magic in it all and delivers some of the best vocals of the night. But just when you thought the Stones had hit their peak for the night they rush off into the speeding train-like rhythm of what might just be the definitive “Midnight Rambler.”

The band…who are these guys? When did the Stones become such a live rock machine? They rock the song for all it’s worth and then some. The train reaches a lurching stop midway through, Taylor adding very tasty wah-wah guitar to remind everyone it’s 1973. Jagger, meanwhile, is grunting his way through a soul review of everything that makes rock and roll so exciting. He’s nailing it. Everyone is. All of a sudden the world’s greatest rock band is just knocking the balls off of everything. It rips. It kills. Unbelievable.

As if that weren’t enough – and really, every Belgian in the audience must be too ecstatic for anything to end at this point -the band smokes through delirious versions of “Honkytonk Women,” “All Down the Line,” “Rip This Joint,” a completely unhinged “Jumping Jack Flash,” and a stunning end of the world “Street Fighting Man” that will knock your stones right off. Seriously.

So, there it is. The Rolling Stones Brussels Affair 1973. Rock and roll played by the absolute masters at a time when they were at the peak of their powers. A recorded document so damn stunning, so unforgivingly awesome, it will further cement their status as the world’s greatest rock and roll band. After this, everything else just seems weak.

Trust me on this.

Tracklist

1. Brown Sugar – 3:56
2. Gimme Shelter – 5:33
3. Happy – 3:14
4. Tumblin’ Dice – 5:04
5. Starf***er – 4:16
6. Dancing With Mr. D – 4:38
7. Heartbreaker – 5:03
8. Angie – 5:15
9. You Can’t Always Get What You Want – 11:01
10. Midnight Rambler – 12:53
11. Honkytonk Women – 3:12
12. All Down the Line – 4:21
13. Rip This Joint – 2:25
14. Jumping Jack Flash – 3:27
15. Street Fighting Man – 5:15

I had a feeling they would do this at some point to pick up on some of the market that just couldn’t bring themselves to commit to the massiveness of purchasing the entire tour, but I had no idea it would happen so quickly! By my calculations, based on digesting individual shows for about 3 months before moving on to the next (my general album guideline), you could buy 4 new Europe ’72 shows a year for the next 5.5 years. That is just ridiculous!

And I could not be happier! Europe ’72 is legendary for night after night of amazing shows by a band that was in peak, peak form. The Bickershaw Festival, Wembley Empire Pool in London, the last night at the Strand Lyceum! Oh man, it’s going to be a good 5 and a half years…

Check it out here!

One of the Dead’s finest, finest shows. Ever. Reviewed HERE!

Yes, we are still here and still reviewing. We’re just taking our sweet time to do so! We’ve got a lot of great reviews on the way so stay tuned…

Well, folks, this may be it. My favorite show, by one of my favorite bands, ever. May 21, 1977…

The first set is so impeccable, and played with so much emotion, it may just be their finest first set ever released. A first set that is so strong, so mind melding perfect, that I find myself reaching for it whenever I need a friend to help me through the day. It turns rainy days sunny, and cold nights warm. It surges with electricity, and lays back gently when you need it to. Perfection.

“Bertha” kicks things off and the good times are apparent from the first note. There’s just something about those chords, those sunny, delightfully rhythmic chords, that make everything feel great. Garcia’s guitar sounds especially sparkly here – his leads are amazingly clear throughout the entire show – as he sets off on a spiraling solo that goes everywhere you want it to. Heck, first song of the night and I’m already completely mesmerized. You just know it’s going to be a good night…

As the set moves on we are treated to absolutely excellent versions of “Me and My Uncle,” “They Love Each Other” (which has a particularly funky bounce to it), and “Cassidy.” “Jack-A-Roe” comes in slowly as the band works their way into a fine cowboy groove that would make any saloon boy happy. Garcia takes two excellent solos that exemplify his clean picking style and unique ability to straddle the line between rock and bluegrass.

“Jack Straw” is greeted with much appreciative applause and the band doesn’t disappoint, delivering a fantastic version full of heart and emotion. The jam portion is excellent and both Jerry and Bob are in fine voice. This is followed by perfect renditions of “Tennessee Jed,” “New Minglewood Blues” (with some especially funky interplay between Jerry and Keith) and another laid back “Row Jimmy.”

There is just something about this fantastic first set that is utterly difficult to describe. There’s a vibe in the air. A vibe that existed only for a brief moment and was, thankfully, exquisitely captured on analog tape lo’ those many years ago. I remember playing this first disc for my dad one day, in the middle of summer, in a house about a block from the shore. “This,” he said, “is nice.” Couldn’t agree more pops!

Of course, like I’ve said so many times before, this is the Grateful Dead in 1977, so they aren’t done yet. After a rousing “Passenger” to start disc 2, they end the first set on a high note. A very high note. A note so high you may just start to feel the warm May air wafting through your speakers. I’m speaking of course, about “Scarlet Begonias > Fire on the Mountain.” And, oh Lord, what a “Scarlet > Fire” it is…

The pace, like the rest of the show, is laid back and in no hurry. The band hits the “Scarlet” groove completely locked into one another and there’s no looking back. If you could capture a lazy summer day in sound this would be it. When the first jam hits, Jerry is so deep in the cut you wonder how he’ll ever get back out. This portion of the jam, the first guitar solo of the song, is the telling point of “Scarlet Begonias” - if this goes well, it all goes well. And man, does it go freaking well!

Jerry darts back and forth through the percolating rhythm section during the subsequent jam. He takes off, not too fast now, and he and the band settle into a very fine groove that is the perfect blend of tight and loose. Everything is just exactly perfect as they take their time, each note earning its rightful place in the jam, and each moment achieving a beauty like the low light of a summer sunrise. Somehow, someone starts steering the ship (Lesh perhaps?) and before you even know what’s happening we are thrust into the surging power of “Fire on the Mountain.”

Jerry’s Mu-Tron guitar filter gets switched on and the whole place suddenly lights up with a hushed awe. Yes, we are now properly situated in the midst of a stunning “Fire on the Mountain” that takes all the time it needs to continue the good times. Wifey often comments how wonderful the small feedback swells are around the 6 minute mark and I couldn’t agree more. The band is deep, deep into the cut and you realize that there is nothing like a 1977 “Fire” jam. Nothing. Jerry and the boys bring it back home and everything for the past 25 mintues or so has been just like it should be. Not too explosive, not too hurried, but just right. And so ends the first set (!!).

Disc 2 continues with an oft fiery “Samson and Delilah” and heartfelt “Brown Eyed Woman” with a beautiful Garcia solo. This is follwed by two hidden bonus tracks from October 11, 1977 in the form of a long, soulful “Dancin’ in the Streets,” and a wonderfully welcome and almost sunny “Dire Wolf.”

Disc 3 defies all logic with an unbelievable suite of songs. A suite of songs that takes you on a complete journey of the mind and touches on almost every musical aspect of the Dead’s career. For well over an hour the band hurdles full throttle through every emotion they’ve ever had with “Estimated Prophet > He’s Gone > Drums > The Other One > Comes a Time > St. Stephen > Not Fade Away > St. Stephen!” Whew!

“Estimated Prophet” is a joy as always. These ’77 versions were always a treat with Lesh holding everything together on bass and Jerry mutating his way all over the outer reaches of the cosmos. This morphs into one of the most powerful versions of “He’s Gone” I have ever had the pleasure of hearing. The song itself is played perfectly, with excellent interplay between the musicians, great Garcia solos, and spot-on singing. But it’s the jam afterwards that really drives this 15 minute monster as the band picks up a boogiefied rhythm and Jerry just starts cooking along without a care in the world.

“He’s Gone” stumbles into some heavy “Drums” that eventually break down the dam to a deliriously intense “The Other One” that somehow time travels all the way back to the late 60s for sheer power and creativity. Lesh is a monster here, rattling the very fabric of time with some slippery bass lines. Somewhere around the 3 minute mark it sounds like Jerry remembers he has a volume knob and he cranks it. Suddenly everything takes another surge forward and the intesity continues to grow. Eventually the jam settles into a quiet lull after the storm and we find ourselves stepping out into the sunlight…

“Comes a Time” takes all the time it deserves in its 11 plus minutes as Jerry and the boys stop time for some major inner reflection. Garcia’s first solo is magnificant, but it’s the concluding jam that really sets this version on fire. Jerry’s guitar tone is dripping with honey as he winds his way through melodic riffs one after another. The band picks up what he’s laying down and for a few moments it is pure beauty in music. A truly monumental version of this rare gem of a song.

As the last notes of “Comes a Time” ring out, “St. Stephen” rings in and the crowd couldn’t be happier. In typical ’77 fashion it is impeccably played, floating by like a summer’s day and landing directly in the path of a joyous, grooving “Not Fade Away.” Unlike the thunderous version from October ’77 on disc 2, this takes a more subtle approach and focuses more on maintaining the good times vibe (with a seriously rocking beat of course!). The sun shines brightly that May evening and the band brings it all back to “St. Stephen” and a hot “One More Saturday Night” to close out the show. Amazing!

Well, there you have it. Dick’s Picks Vol.29. One of the Grateful Dead’s finest releases. If I could recommend only one Grateful Dead release to anyone, this would be it. If I had to choose just one release among my vast collection of Dead recordings, this would be it. It is six discs of pure perfection. It is everything you could ever want from a Dead show and then some. The sound is impeccable (seriously, it’s fantastic), and the performances are exciting, dazzling, and simply mind blowing. This is just. Exactly. Perfect.

*Be sure to check out Part 1 to read about Discs 1-3, May 19, 1977!*

Tracklist (May 21, 1977)

Disc Four:

1. “Bertha” – 7:22
2. “Me and My Uncle” – 3:52
3. “They Love Each Other” – 8:10
4. “Cassidy” – 5:21
5. “Jack-A-Roe” – 7:00
6. “Jack Straw” – 6:13
7. “Tennessee Jed”  – 9:41
8. “New Minglewood Blues” – 5:38
9. “Row Jimmy”  – 11:28

Disc Five:

1. “Passenger” – 4:15
2. “Scarlet Begonias” – 11:44
3. “Fire on the Mountain” – 12:53
4. “Samson and Delilah” – 7:45
5. “Brown-Eyed Women” – 5:32
6. “Dancing in the Streets” (October 11, 1977) – 17:38
7. “Dire Wolf” (October 11, 1977) – 3:52

Disc Six:

1. “Estimated Prophet” – 11:27
2. “He’s Gone” – 15:36
3. “Drums” – 4:09
4. “The Other One” – 11:39
5. “Comes a Time” – 11:52
6. “Saint Stephen” – 4:37
7. “Not Fade Away” – 11:15
8. “Saint Stephen” – 1:46
9. “One More Saturday Night”  – 5:01

There are many moments throughout the Grateful Dead’s incredibly long career where it seemed as if the Gods themselves were smiling down on the band from the Heavens. And perhaps, at least to this listener, those smiles shone none brighter than during May 1977. There was just something in the air…

Dick’s Picks Vol. 29 features two complete shows from 1977, May 19 and 21, spread across six discs (!). The shows complete a perfect trio when combined with Dick’s Picks Vol. 3 from May 22, and serve as further testament to the almost impossible perfection that was May ’77.

Sound throughout all six discs is simply fantastic. Oh Lord how beautiful the sound is! There is a thick warmth and atmosphere that perfectly encapsulates every single nuance of the musicians – Garcia’s guitar is crystal clear, Lesh’s bass is tight and round, Weir’s angular rhythms are a joy as always, Godchaux’s piano is full of life, and the twin drumming of Kreutzman and Hart is dynamically astounding. With each ensuing jam the sheer quality of the recording becomes more and more apparent as this mere 2-track recording exudes a distinct quality somehow missing from modern recordings. Oh man is it clean!

Because of the immensity of this release, and the sheer fact that both shows are complete perfection in every way, not to mention some fantastically amazing hidden tracks on discs 2 and 5, we simply have to divide this review into two parts. So, take a step back, and yet another step back, and let’s take a look at the majestic beauty that is May 19, 1977.

After kicking things off with a steady rolling “Promised Land” the band gets right down to business with a stunning “Sugaree.” Jerry is in fine voice here but even better is his guitar which sings from the heavens during the three distinct jams. There was something magical about these ’77 “Sugarees” and this may very well be one of the best, not only of the year but of their entire career. The band moves along, united as one, lead by Jerry’s sweet soulful voice and expressive guitar. As the jam progresses Jerry just does not want to let go of the jam as he gets ever deeper into the beauty of it all. By the third jam the band eases into it so gently you would think they are just going to ride it out like that to the end.

But, this is the Grateful Dead in 1977…

Slowly, surely, things pick up steam as the musicians all search for, and find, just the right groove. Jerry flies in out of nowhere and just starts spewing notes all over the place. The jam suddenly hits a huge surge and then flies effortlessly back into the main portion of the song. All is right with the world for 16 minutes as the band does their best to bring as much emotion and passion as they can to this enduring Dead classic. This is, simply stated, awesome.

The first set continues with a wonderful “Peggy O” that features a gorgeous Garcia solo that is so perfectly played it hardly seems possible to have been achieved in a single take, let alone in front of a ecstatic live audience. “Row Jimmy” sneaks in with a very laid back vibe while the always welcome “Loser” displays a typically moving Garcia solo. Fantastic!

Disc two closes out the first set with a very funky “Dancing in the Streets” that really takes off during the jam portion. The band is completely locked together as one as Jerry delivers a spiraling solo full of various twists and turns. His years of banjo playing come to the forefront here as his playing is clean and precise – at one point the jam actually starts to sound like some sort of funky rock hoedown of sorts. The band fades things out and takes a short break.

A typically smoking “Samson and Delilah” starts off the second set followed by a wonderful “Ramble on Rose” featuring a typical ’77 psychedelic ragtime dixieland solo (yes, you read that right). “Estimated Prophet” features the band once again locking together in a very intense groove as Jerry does his mutated guitar excursions over top of Lesh’s thick groove. Very cool as always!

Following “Estimated Prophet” on disc 2, we are treated to three bonus cuts from October 11, 1977 in the form of “Not Fade Away,” “Wharf Rat,” and “Around and Around.” Both “Wharf Rat” and “Around and Around” are indeed well played and make for perfect additions to the set. It is the “Not Fade Away,” however, that is truly, truly splendid. Coming out of what must have been some really serious drums, Kreutzman and Hart deliver a pounding beat that can only be described as tribal war drums. This tandem rhythm sets the stage for a long intro jam that just cooks. The singing begins and then we are quickly thrust back into the jam with a seriously heavy fury.

Thunder comes in from all sides as the band keeps growing in powerful menace. Around 8:29 Jerry gets into a unique, hypnotic repeating figure that seems to be unlike anything I’ve heard him do before or since. The band continues to swell around him, the drums in particular, as they make their way into a perfectly played call and response between all the musicians. The drummers pick up a start/stop rhythm as Jerry, Phil, and Keith all take turns riffing in between the rhythms. This jam has long been one of my favorites by the band as it is quite intensely ridiculous. Hard to imagine it’s only a bonus track!

Disc 3 ushers in a suite of songs that somehow defy all logic. After a perfect, and if you ask me, definitive, “Terrapin Station,” the band sets off for an epic sonic adventure that resides just this side of mellow fantastic. “Playing in the Band,” which always goes off into uncharted territory no matter what year it is, blasts off into a laid back stratosphere. No sonic freak outs here, instead they sail calmly down a psychedelic river that never ceases to stay interesting. The band takes their time exploring the outer reaches of music and melodic space, gently gliding through the air like so many thistles on a warm spring day.

And then, as reporter Keith Morrison often says, something strange happens…

The band begins to pick up steam as the rhythms start to lock together and the formless jam suddenly starts to take shape. And then it happens, inexplicably and without warning. Suddenly we are at the tail end of “Uncle John’s Band.” A quick moment of silence, the band comes in singing the familiar line “how does the song go,” and then we are situated back at the very beginning of “Uncle John’s Band!” Yes, somehow the band gathered their collective minds and backed into a sort of inverted UJB that serves as a backdrop for some truly beautiful jamming moments. Un-freaking-believable!

This then leads to thunderous “Drums,” a truly beautiful “The Wheel,” an aching “China Doll,” and back into “Playing in the Band” (with an outro jam to set your socks on fire) to round out the set and finish this truly monumental show.

I don’t know what words, if any, can accurately describe how amazing 5-19-77 truly is. Without a doubt it’s one of their best shows of the year, and at least for this listener, one of their best of all time. I would be more than happy if they simply released this show alone and then moved on to the next volume in the series. But instead, they graciously decided to couple it with a show from 2 nights later. A show that changed my life. A show that just may be my favorite of all time…

*Be sure to check out Part 2 to read about Discs 4-6, May 21, 1977!*

Tracklist (May 19, 1977)

Disc One:

1. “The Promised Land” – 6:14
2. “Sugaree” – 16:21
3. “El Paso” – 5:04
4. “Peggy-O” – 8:34
5. “Looks Like Rain”  – 8:59
6. “Row Jimmy” – 11:29
7. “Passenger” – 3:59
8. “Loser” – 8:38

Disc Two:

1. “Dancing in the Streets” – 13:47
2. “Samson and Delilah” – 8:00
3. “Ramble on Rose” – 8:38
4. “Estimated Prophet” – 10:09
5. “Not Fade Away” (October 11, 1977) – 16:39
6. “Wharf Rat” (October 11, 1977) – 13:41
7. “Around and Around” (October 11, 1977) – 8:36

Disc Three:

1. “Terrapin Station” – 11:43
2. “Playing in the Band” – 11:07
3. “Uncle John’s Band” – 11:47
4. “Drums” – 5:28
5. “The Wheel” – 7:24
6. “China Doll” – 7:50
7. “Playing in the Band” – 10:33