winterland121072
08-11-2005, 06:27 PM
1.28.1989 The Orpheum Theatre
San Francisco, California
Saturday
2nd JGB Band Performance of 1989
http://i5.photobucket.com/albums/y177/winterland121072/Dead/jgb89_01_27and28_01.jpg
http://www.psilo.com/dead/images/tickets/tJGB890128.jpg
The first six Grateful Dead concerts of 1989 (2.5,6,7 and 2.10, 11, 12.1989) were not the best Jerry performances. With the exception of 2.10.1989 the band sounded quite awful at times, and at times _really_ bad. Noteworthy within that mini Dead run was that Jerry’s guitar playing sounded listless at times, distracted, and bored. But these were not the first performances of the year for Mr. Garcia. Indeed, the JGB performed at the Orpheum in SF on 1.27 and 1.28.1989. Considering how shoddy and flat his guitar playing was during the 2.5 through 2.12.1989 Dead run (just one week from 1.27.1989) it is interesting to see that whatever was affecting him during that week in February 1989 was not affecting him during the final Friday and Saturday of January 1989.
Saturday, January 28, 1989, the second Jerry Band performance of 1989, came off the heals of an above average show the night before. The JGB sounded very tight with each other, the harmonies were especially sweet, and the overall feel was that Jerry was playing well. But, Jerry’s guitar solos at times lacked an aggressive edge. The overall sound of the show was a bit sedate. On 1.28.1989 Jerry would change that.
The first set starts with I’ll Take A Melody. The song portion was near studio tight. The band was cleanly and clearly on. But, Jerry’s solo during the jam was a bit tame. Still, this was a very solid rendition, just not too jam filled (cf., 2.17.1980).
Next was TLEO. This version starts with some very interesting bass licks from Kahn. The song portion, as with the Melody, was superb and nearly perfect. The jam portion had a very well done Jerry solo that surged into an impressive peak before the return to the chorus. This was a fine TLEO.
Mission In The Rain was next. Again, the song portion was flawless and flavored. Jerry’s first solo had some impressive meandering with a flavored edge. But, it wasn’t overly impressive. The Seals solo was well done, but not exceptional. The second Jerry solo meandered nicely but didn’t have high amounts of tension back into the final verse (for a Mission from 1989 that did have a load of tension going into the final verse, see 8.26.1989).
Simple Twist Of Fate was next. This was a very slow version. Jerry’s solos didn’t quite add a lot of juice or flavor to this version. While the solos were flawless and meandered nicely, they didn’t generate a lot of tension or interest. Kahn’s solo, on the other hand, was quite interesting.
Next was That’s What Love Will Make You Do. This version is stellar. The song portion is quite solid and flawless. Jerry’s first solo gains a lot of momentum and pace and is loaded with exceptional licks. Seals also delivers a very fine organ solo. Indeed, this was a great version.
The first set does not end with Deal, but rather with The Night They Drove ‘Ol Dixie Down. This version has a stabbing guitar solo from Jerry that really is quite passionate. The Seals solo, as usual with this tune, is hauntingly exceptional.
The second set begins with Let’s Spend The Night Together. The song portion immediately jumps out as being full of energy. Jerry’s singing is raw and filled with near screaming, and the harmony provided by the back singers Jaclyn LaBranch and Gloria Jones is pristine. This version really takes off during the first guitar solo. Jerry glides through the chordal structure with numerous licks filled with interesting signature flavors. This first jam reaches numerous mini climaxes and truly is impressive. As this fantastic display returns for the ending of the song, Jerry and the backup singers put forth a beautiful display of singing. Jerry’s voice is filled with inflection and is beaming with happiness. As Jerry finishes his last “Now I need you more than ever” one of the back up singers continues with another “Lets spend the night together” and the other backup singer sings “Now I need you more than ever” with a slight giggle. From this Jerry enters the main jam of the song. The first theme is driving in nature and sends the jam well beyond the previous night’s version. Jerry’s improvisation during this first theme reaches great heights filled with signature note runs and beautifully bent note sounds. The second theme is more rockin’ roll as Jerry increases the pace and develops into a blistering solo. Jerry reaches a cyclical series of notes that truly is an amazing peak. As this theme peaks you can hear one of the backup signers scream out “Whoo.” Jerry finishes this jam with a great series of notes. As the song ends I immediately am stunned at just how much better this particular jam was in comparison to the previous night as a whole and the entire February Dead shows (while 2.10.1989 was a spectacular show, there certainly were not any open ended jams like this one. The PITB was impressive but at a different pace and style). Bravo to Jerry for this particular version of Let’s Spend The Night Together.
Next is Waiting For A Miracle. The song itself is sheer precision. The timing by the band behind Jerry’s vocals is flawless, the harmonies by Jaclyn and Gloria is utter beauty, and Jerry’s reverb on his guitar sounds almost crunchy. Jerry’s vocal delivery is noteworthy as well for his perfection despite his age at delivering the lyrics and is filled with moans as well. Jerry’s guitar solo leaps from the song and again filled with very interesting flavorings on the notes and literally soars. This solo is not just a run through the chords, but rather is the type of Jerry solo that is just as meaningful as any of the verses. Due to someone freaking out during the song, Jerry skips the last verse. As the song ends I am left wishing this was a longer version, but that is what the replay button is for.
As the crowd cheers Jerry pleads with the crowd stating, “Hey if any more of you are going to lose it could you wait for inbetween the songs? Huh huh, Thanks we’d appreciate that…We’re having a reasonably good time here, you know what I mean?” If you turn the volume way up during this you can hear the band members laughing hysterically including Jerry. A great moment (not for the person who “lost” it) but for Jerry as he truly sounded happy.
Jerry next chooses to slow down the pace of the show with “Like a Road.” This version is not the typical version because Jerry’s signing again is more than impressive and mournful. Once again the harmonies created around Jerry’s voice the sound is truly beautiful. Jerry’s guitar solo is filled with signature runs of peaks and valleys that adds credence to the song portion and pierces the listener. This was the third exceptional version in a row for this second set.
Don’t Let Go is next and the song portion is equally as impressive as the previous songs. The jam portion gets extremely deep and is filled with very impressive jamming. This is in contrast to the 1.27.1989 version which didn’t really didn’t take off. This version is over 17 minutes long and the jam is about 11 minutes of it. Jerry starts the main jam out with a bluesy impression that opens the jam up and slowly increases its pace. The second theme provides Jerry reaching a very spacey region. He hits some very high notes and waffles back and forth in this space. Seals starts the third theme by adding some psychedelic runs. Jerry pounces on this and drives the jam deeper but in a manner that increases the pace. Eventually he begins fanning some notes and the jam at this point could only be labeled as exceptional. Jerry leaps out of this and starts the fourth theme that is driving in nature. He sends the jam driving into the ground with fast note runs and occasional note blasts. The fifth theme starts with Jerry emerging from the psychedelic aftermath. He starts a very interesting note dance that slowly returns the jam to a more structured sound. It is almost happy in sound but laced with a sense of uncertainty – Garcia at his best. Jerry reaches his desired sound and enters the sixth theme that is a complicated series of notes blending from the structure he had just created to a more tense and angry sound. The jam reaches some amazing note runs from Jerry here. Jerry climaxes this theme with a step wise strumming that builds the intensity and pace to a brilliant peak. He ends this with more note fanning that is mind blowing. As this ends Jerry returns the band for the final verse of Don’t Let Go. This transition is flawless and makes you wonder if the band even left the song in the first place.
Out of this mind numbing jam, Jerry next starts Hope It Won’t Be This Way, Always. Jerry’s signing is nearly sarcastic and is filled with nice moans. Again the harmony from Jaclyn and Gloria is spectacular. The mixture of their harmony and Jerry’s vocals is the finest I’ve heard (despite really liking Donna at times, she just doesn’t compare in my opinion to Jaclyn and Gloria). For the jam portion Jerry provides a very nice series of notes that retains the near sarcasm followed by a very nice flowing run from Seals. Another exceptional version for this amazing second set from the JGB.
The show ends with a blistering Tangled Up In Blue. Jerry’s guitar solos are pure rock’n’roll. As with the preceding songs, the song portion of this version are flawless and extremely well delivered. The first guitar solo has very interesting flavorings from Jerry and is matched by a very boppy rhythm. The second solo gets a bit deeper and provides several zeniths. The band was truly cooking at this point. Jerry’s runs through the chords climaxed at the perfect times. The final jam gets even deeper is scalding to say the least. This final jam is more extended and gives Jerry a chance to show off. The jam reaches numerous peaks and must be heard.
As the show ends I am truly impressed. The February and Spring Tour Grateful Dead shows were very average for the most part (sans 2.10, 4.3, and 4.28.1989). On this particular night Jerry’s jamming was profound. Each song from this second set is exceptional and shows that Jerry’s abilities were not in question. For many years I was of the opinion that Garcia just couldn’t cook in the late 80s through the 90s. On this particular night, 1.28.1989, Jerry provided all the evidence I need to throw that opinion straight out the window. On 1.28.1989 Jerry delivered one of his finest performances ever. I can’t wait to hear the first set – whenever it is released. But, even if it isn’t as scalding as this amazing second set, this particular night will always be immortalized in my memory (remember, there were amazing Dead shows that had flat sets and amazing sets --- see 9.17.1982). Bravo to Jerry for this truly special performance.
Set 1: 7.72
Set 2: 8.92
Show: 8.31
Melody 7.5
TLEO 8
Mission In The Rain 7.35
Simple Twist Of Fate 7.3
That’s What Love Will Make You Do 8.15
Night They Drove Ol’ Dixie Down 8
Lets Spend The Night 9.25
Waiting For a Miracle 9
Like a Road 8.75
Don’t Let Go 9
Hope It Won’t Be This Way 8.25
Tangled Up In Blue 9.25
San Francisco, California
Saturday
2nd JGB Band Performance of 1989
http://i5.photobucket.com/albums/y177/winterland121072/Dead/jgb89_01_27and28_01.jpg
http://www.psilo.com/dead/images/tickets/tJGB890128.jpg
The first six Grateful Dead concerts of 1989 (2.5,6,7 and 2.10, 11, 12.1989) were not the best Jerry performances. With the exception of 2.10.1989 the band sounded quite awful at times, and at times _really_ bad. Noteworthy within that mini Dead run was that Jerry’s guitar playing sounded listless at times, distracted, and bored. But these were not the first performances of the year for Mr. Garcia. Indeed, the JGB performed at the Orpheum in SF on 1.27 and 1.28.1989. Considering how shoddy and flat his guitar playing was during the 2.5 through 2.12.1989 Dead run (just one week from 1.27.1989) it is interesting to see that whatever was affecting him during that week in February 1989 was not affecting him during the final Friday and Saturday of January 1989.
Saturday, January 28, 1989, the second Jerry Band performance of 1989, came off the heals of an above average show the night before. The JGB sounded very tight with each other, the harmonies were especially sweet, and the overall feel was that Jerry was playing well. But, Jerry’s guitar solos at times lacked an aggressive edge. The overall sound of the show was a bit sedate. On 1.28.1989 Jerry would change that.
The first set starts with I’ll Take A Melody. The song portion was near studio tight. The band was cleanly and clearly on. But, Jerry’s solo during the jam was a bit tame. Still, this was a very solid rendition, just not too jam filled (cf., 2.17.1980).
Next was TLEO. This version starts with some very interesting bass licks from Kahn. The song portion, as with the Melody, was superb and nearly perfect. The jam portion had a very well done Jerry solo that surged into an impressive peak before the return to the chorus. This was a fine TLEO.
Mission In The Rain was next. Again, the song portion was flawless and flavored. Jerry’s first solo had some impressive meandering with a flavored edge. But, it wasn’t overly impressive. The Seals solo was well done, but not exceptional. The second Jerry solo meandered nicely but didn’t have high amounts of tension back into the final verse (for a Mission from 1989 that did have a load of tension going into the final verse, see 8.26.1989).
Simple Twist Of Fate was next. This was a very slow version. Jerry’s solos didn’t quite add a lot of juice or flavor to this version. While the solos were flawless and meandered nicely, they didn’t generate a lot of tension or interest. Kahn’s solo, on the other hand, was quite interesting.
Next was That’s What Love Will Make You Do. This version is stellar. The song portion is quite solid and flawless. Jerry’s first solo gains a lot of momentum and pace and is loaded with exceptional licks. Seals also delivers a very fine organ solo. Indeed, this was a great version.
The first set does not end with Deal, but rather with The Night They Drove ‘Ol Dixie Down. This version has a stabbing guitar solo from Jerry that really is quite passionate. The Seals solo, as usual with this tune, is hauntingly exceptional.
The second set begins with Let’s Spend The Night Together. The song portion immediately jumps out as being full of energy. Jerry’s singing is raw and filled with near screaming, and the harmony provided by the back singers Jaclyn LaBranch and Gloria Jones is pristine. This version really takes off during the first guitar solo. Jerry glides through the chordal structure with numerous licks filled with interesting signature flavors. This first jam reaches numerous mini climaxes and truly is impressive. As this fantastic display returns for the ending of the song, Jerry and the backup singers put forth a beautiful display of singing. Jerry’s voice is filled with inflection and is beaming with happiness. As Jerry finishes his last “Now I need you more than ever” one of the back up singers continues with another “Lets spend the night together” and the other backup singer sings “Now I need you more than ever” with a slight giggle. From this Jerry enters the main jam of the song. The first theme is driving in nature and sends the jam well beyond the previous night’s version. Jerry’s improvisation during this first theme reaches great heights filled with signature note runs and beautifully bent note sounds. The second theme is more rockin’ roll as Jerry increases the pace and develops into a blistering solo. Jerry reaches a cyclical series of notes that truly is an amazing peak. As this theme peaks you can hear one of the backup signers scream out “Whoo.” Jerry finishes this jam with a great series of notes. As the song ends I immediately am stunned at just how much better this particular jam was in comparison to the previous night as a whole and the entire February Dead shows (while 2.10.1989 was a spectacular show, there certainly were not any open ended jams like this one. The PITB was impressive but at a different pace and style). Bravo to Jerry for this particular version of Let’s Spend The Night Together.
Next is Waiting For A Miracle. The song itself is sheer precision. The timing by the band behind Jerry’s vocals is flawless, the harmonies by Jaclyn and Gloria is utter beauty, and Jerry’s reverb on his guitar sounds almost crunchy. Jerry’s vocal delivery is noteworthy as well for his perfection despite his age at delivering the lyrics and is filled with moans as well. Jerry’s guitar solo leaps from the song and again filled with very interesting flavorings on the notes and literally soars. This solo is not just a run through the chords, but rather is the type of Jerry solo that is just as meaningful as any of the verses. Due to someone freaking out during the song, Jerry skips the last verse. As the song ends I am left wishing this was a longer version, but that is what the replay button is for.
As the crowd cheers Jerry pleads with the crowd stating, “Hey if any more of you are going to lose it could you wait for inbetween the songs? Huh huh, Thanks we’d appreciate that…We’re having a reasonably good time here, you know what I mean?” If you turn the volume way up during this you can hear the band members laughing hysterically including Jerry. A great moment (not for the person who “lost” it) but for Jerry as he truly sounded happy.
Jerry next chooses to slow down the pace of the show with “Like a Road.” This version is not the typical version because Jerry’s signing again is more than impressive and mournful. Once again the harmonies created around Jerry’s voice the sound is truly beautiful. Jerry’s guitar solo is filled with signature runs of peaks and valleys that adds credence to the song portion and pierces the listener. This was the third exceptional version in a row for this second set.
Don’t Let Go is next and the song portion is equally as impressive as the previous songs. The jam portion gets extremely deep and is filled with very impressive jamming. This is in contrast to the 1.27.1989 version which didn’t really didn’t take off. This version is over 17 minutes long and the jam is about 11 minutes of it. Jerry starts the main jam out with a bluesy impression that opens the jam up and slowly increases its pace. The second theme provides Jerry reaching a very spacey region. He hits some very high notes and waffles back and forth in this space. Seals starts the third theme by adding some psychedelic runs. Jerry pounces on this and drives the jam deeper but in a manner that increases the pace. Eventually he begins fanning some notes and the jam at this point could only be labeled as exceptional. Jerry leaps out of this and starts the fourth theme that is driving in nature. He sends the jam driving into the ground with fast note runs and occasional note blasts. The fifth theme starts with Jerry emerging from the psychedelic aftermath. He starts a very interesting note dance that slowly returns the jam to a more structured sound. It is almost happy in sound but laced with a sense of uncertainty – Garcia at his best. Jerry reaches his desired sound and enters the sixth theme that is a complicated series of notes blending from the structure he had just created to a more tense and angry sound. The jam reaches some amazing note runs from Jerry here. Jerry climaxes this theme with a step wise strumming that builds the intensity and pace to a brilliant peak. He ends this with more note fanning that is mind blowing. As this ends Jerry returns the band for the final verse of Don’t Let Go. This transition is flawless and makes you wonder if the band even left the song in the first place.
Out of this mind numbing jam, Jerry next starts Hope It Won’t Be This Way, Always. Jerry’s signing is nearly sarcastic and is filled with nice moans. Again the harmony from Jaclyn and Gloria is spectacular. The mixture of their harmony and Jerry’s vocals is the finest I’ve heard (despite really liking Donna at times, she just doesn’t compare in my opinion to Jaclyn and Gloria). For the jam portion Jerry provides a very nice series of notes that retains the near sarcasm followed by a very nice flowing run from Seals. Another exceptional version for this amazing second set from the JGB.
The show ends with a blistering Tangled Up In Blue. Jerry’s guitar solos are pure rock’n’roll. As with the preceding songs, the song portion of this version are flawless and extremely well delivered. The first guitar solo has very interesting flavorings from Jerry and is matched by a very boppy rhythm. The second solo gets a bit deeper and provides several zeniths. The band was truly cooking at this point. Jerry’s runs through the chords climaxed at the perfect times. The final jam gets even deeper is scalding to say the least. This final jam is more extended and gives Jerry a chance to show off. The jam reaches numerous peaks and must be heard.
As the show ends I am truly impressed. The February and Spring Tour Grateful Dead shows were very average for the most part (sans 2.10, 4.3, and 4.28.1989). On this particular night Jerry’s jamming was profound. Each song from this second set is exceptional and shows that Jerry’s abilities were not in question. For many years I was of the opinion that Garcia just couldn’t cook in the late 80s through the 90s. On this particular night, 1.28.1989, Jerry provided all the evidence I need to throw that opinion straight out the window. On 1.28.1989 Jerry delivered one of his finest performances ever. I can’t wait to hear the first set – whenever it is released. But, even if it isn’t as scalding as this amazing second set, this particular night will always be immortalized in my memory (remember, there were amazing Dead shows that had flat sets and amazing sets --- see 9.17.1982). Bravo to Jerry for this truly special performance.
Set 1: 7.72
Set 2: 8.92
Show: 8.31
Melody 7.5
TLEO 8
Mission In The Rain 7.35
Simple Twist Of Fate 7.3
That’s What Love Will Make You Do 8.15
Night They Drove Ol’ Dixie Down 8
Lets Spend The Night 9.25
Waiting For a Miracle 9
Like a Road 8.75
Don’t Let Go 9
Hope It Won’t Be This Way 8.25
Tangled Up In Blue 9.25