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Grateful Dead Live

Dick's_Picks_12_Grateful Dead

Dick's Picks versus the Vault  

With so many live Grateful Dead CD's to review, I have been broken them into segments for comparison, as well as better navigation and faster page loads.  
Pig Pen Thru T.C.
Pig Pen Post T.C.
Keith '71 - '72
Keith '73 - '74
Keith '75 - '79
Brent '79 - '86
Brent '87 - '90
Hornsby Welnick
Compilations

Our category breakdowns took into account personnel, material, and major equipment changes that helped sketch out the unique Grateful Dead sound of the time. Another consideration is the number of live releases within the period to compare and review. 

The grading of the live Grateful Dead CD's compare them from within each of the categories. 

Updated July 2009 
The Grateful Dead issued numerous archive series of releases that they sponsor. Some are retired and some are on-going. Below is note about the various series' and formats along with some recommendations. 
Grateful Dead
Vault releases
Road Trips
Dick's Picks
Download 
DVD's

The Dead 2009 - Downloads

Read the Grateful Dead Almanac or the PDF.

Vault Releases - This is primarily reserved for multi-track releases. 

Favorite release - Winterland 1973: The Complete Recordings

1973
Winterland 1973: The Complete Recordings
1971
Ladies and Gentlemen
1969
Fillmore West 1969: Compilation
   
1972
Steppin' Out with the Grateful Dead: England '72
1978
Rockin' The Cradle: Egypt 1978
1977
To Terrapin: May 28, 1977 Hartford, CT
 
Dave's Picks

2012 Debut

From the GD website. 
Introducing Dave's Picks
The New Limited Edition Numbered Archival Series

What happens when you take the spirit of Dick's Picks and combine it with the very best aspects of Road Trips? Dave's Picks! Esteemed archivist, vaultmeister, and all-around Dead fiend David Lemieux will curate the finest unreleased shows from the master tapes, brought to life with HDCD sonics by Jeffrey Norman, period photos, and informative liner notes. All four CD releases in 2012 will be limited to 12,000 individually numbered copies. The series kicks off with a uniquely spectacular show from the highly regarded Spring Tour of '77 - May 25, 1977, The Mosque in Richmond, Virginia.

Road Trips

From the GD website. 
" Here's the deal: We all loved the Dicks Picks series. Over the course of 36 amazing releases between 1993 and 2005, GD archivists Dick Latvala (R.I.P.) and David Lemieux continually blew our little minds plucking one righteous show after another from the vaults.

With Road Trips we're going to try something a little different. We want to plug in a few more pieces of the Grateful Dead puzzle by putting the spotlight on different tours and series of shows that have been neglected through the years. 

Also, every Road Trips release will come with a beautifully designed booklet containing an essay about how the music on the discs fits into the Dead's long history, plus many rare and never-before-seen photographs."

We think you'll agree it's a pretty cool package.

At this time, there have only been six releases. A few essentials are:
With Brent
Road Trips: Vol 1, Number 1: Fall 1979
With Bruce and Vince
Road Trips: Vol 2, Number 1: Madison Square Gardens, Sept 1990
With Pigpen
Road Trips: Vol 2, Number 2: Feb 14, 1968, Carousel Ballroom

Dick's Picks
After the vault releases the next archive series was Dick's Picks. There were 36 editions, before it was retired. 

My favorite period is 1973 - '74  
Dick's Picks, Vol. 12 - Providence & Boston, 6/26 & 28/74
Dick's Picks  Vol. 19 - Oklahoma City, 10/19/73

Must mention
Dick's Picks Vol. 14 - Boston Music Hall, 11/30/73 & 12/2/73 

From 1972
Dick's Picks Vol. 36 - Philadelphia 9/21/72

From 1977
Dick's Picks Vol. 15 - Englishtown, 9/3/77 Can you say "1/2 Step."
Dick's Picks Vol. 29 - Atlanta & Lakeland, 5/19 & 21/77
This two show edition is the best bargain in the Dick's Picks series.

With Pigpen
These three releases are classics.
Dick's Picks Vol. 8, -  Binghampton, 5/2/70
Dick's Picks Vol. 4 - Fillmore East, 2/13-14/70
Dick's Picks Vol. 16 - Fillmore Aud, 11/8/69

The Brent releases and Bruce releases are listed in their respective sections. 

Dick's Picks versus the Vault Series 
In the April 2003 Dead.Net newsletter, Monthly Flash, the Grateful Dead tape archivist described the differences between the various releases as follows:


"Question: What are the technical differences between the Grateful Dead's "Vault Release" series and the "Dick's Picks" series of audio releases?

Answer: The primary difference between these two series of audio releases is the source material. The "Vault Release" series is mixed from the multi-track master tapes, whereas the "Dick's Picks" series utilizes 2-track master tapes. What this means is that a "Vault Release" can be mixed and manipulated to create as optimum-sounding a release as possible, with each individual instrument and vocal having the ability to be mixed to create as good a sonic blend as possible. The "Dick's Picks" source tapes, having been mixed to 2-track tape live at the concerts, or using the stereo PA tape, cannot be manipulated and mixed in the same way, as what was mixed to this tape is the extent of what we have to work with. The most that can be done in the production of a 2-track tape is to "master" the tape. This may be "equalization" (overall tonal improvements), "compression" (control of excessive dynamic problems), and/or "editing" (connecting songs together) the tape to create the best-possible release. As a side note, the "View from the Vault" series of DVD releases uses the 2-track source audio that is on the video master, meaning the "View from the Vault" series is more akin to the "Dick's Picks" series than to the "Vault Release" series. The video portion of the "View from the Vault" series is what was shown live, on the big screens at the concerts."

David Lemieux
Audiovisual Archivist
Grateful Dead Productions

Dick's Picks?  
Below is the quote on the back cover of Dick's Picks Volume 1 that describes the series well.

Caveat Emptor:

"The recording herein has been lovingly re-mastered directly from the original two-track master tape and is therefore not immune to the various glitches, splices, reel changes and other aural gremlins contained on said original. Dick's Picks differs from our From The Vault series in that we simply did not have access to complete shows (nor the modern mixing capabilities afforded by multi-track tapes) But we think the historical value and musical quality of these tapes more than compensates for any technical anomalies... In other words what you hear is what you get. And what you get ain't bad!"

Download series 

Twelve releases in the series. I should revisit some of these releases. An easy to recommend edition is:

Download Series Vol. 7 - 09/03/80 Springfield Civic Center Arena, Springfield, MA

Grateful Dead DVD's

View From the Vault is a video series with four releases, 

Audio is available for most of the DVD's from the respective concerts.  

Below are some top DVD releases. 
Top Pick - The Grateful Dead Movie

1974
Grateful Dead Movie
1980
Dead Ahead Expanded
1978
The Closing of Winterland
 

The Dead

The Dead toured in 2009. Downloads are available for each of the shows in MP3 of flac formats. The shows are $14.50 each for MP3 and $16.50 for flac. They have some packages at discounts too, including the whole tour. 
The Band
Bob Weir - guitar, vocals 
Phil Lesh - bass, vocals 
Bill Kreutzmann - drums, percussion 
Mickey Hart - drums, percussion 
Warren Haynes - guitar, vocals 
Jeff Chimenti - keyboards 

Tour dates

From Dead.net: (Some excellent material posted at Dead.net. I linked to some of my favorites, I posted Blair Jackson's essay below too.)
* David Lemieux's tour archive
* Press reports from the 2009 tour.
* Video clips from the tour 
* Blair Jackson - Everybody’s Dancin’! Some Reflections of The Dead’s Spring Tour. -- Blair's top 5 shows

"Back in the mid- and late 1980s, when my wife, Regan, and I used to put out a Grateful Dead fanzine called The Golden Road, our day jobs prevented us from going on the road as much as we liked, so we used to rely on friends to call and give us blow-by-blow show reports. We’d be working at our drafting tables putting together our magazine at 11 or midnight and the phone would ring: “It’s The Call!” And sure enough, there would be one our buddies, at 2 or 3 a.m. Philly time, on the other end. “Buddy… what a show… let’s see if I can piece this together…” and in his post-show haze he’d struggle to reconstruct the set list, which he hadn’t bothered to write down of course, punctuating it with little details along the way: “I kinda missed the ‘West L.A.’ because the girl in front of me passed out, and the medics were dealing with her during the whole song”; “Out of the ‘Terrapin’ they went into this jam where I thought they might go into ‘Dark Star,’ but nope, Jerry takes off his guitar and it’s ‘Drums’, which was amazing!” It was a blast getting to experience these shows vicariously until the tapes started trickling in during the weeks following the tour.

Gee, how things have changed! No late night calls were necessary to follow the action on The Dead’s latest tour (though we still got a couple of calls anyway, and that was Big Fun). Instead I was usually able to go onto dead.net or Deadnet Central and get the setlist as it went down live, often with opinions and commentary in real time: “Looks like there’s a ‘China Cat’ coming! Nope, they veer into ‘Uncle John’s!’ Yay!” (Of course, if I owned an iPhone, I could’ve had set lists, streaming audio and pix at my fingertips. Time for me to join the 21st century, I guess!) Three of the concerts—first night in Worcester, second night in Philly, and The Gorge—were broadcast live on Sirius Radio, so I got to hear those in the comfort of my own home, and excellent audience recordings of most shows were up on archive.org within a day or two, and that was a really cool way to keep up with the action. To my eternal regret I was only able to go to one show—first Shoreline, which had an outstanding second set—but through archive.org and also buying several of the superb soundboard recordings, I’ve managed to hear nearly everything by now.

And what a tour it was! I think it’s safe to say that it greatly exceeded most people’s expectations, and many believe that it was overall the strongest of the post-Garcia Dead tours. Why? Let me count the ways:

It starts with the Core Four! The rapprochement that began even before the Dead Heads for Obama show back in the winter of ’08 was real and has stuck. They appear to be getting along better than they have in many years, and they all seemed to be thoroughly dedicated to putting in the rehearsal time both before and during the tour to make sure that everyone was on the same page musically.

This has been part of Phil’s M.O. with his own bands for a number of years: They rehearse often and have long soundchecks; with the fundamentals solidified, they are then freer to improvise with confidence. Train wrecks were few and far between on this tour. Phil is obviously in love with that crazy new bass he’s been playing, and who can blame him—it sounds phenomenal. Bob seems utterly relaxed and confident, and I thought he and Warren often gelled in ways that were very reminiscent of Bob and another guitarist you all know…

Bill and Mickey played spectacularly—both with the band and during their amazing Rhythm Devils segments, many of which were centered around specific sonic motifs and space concepts. (This felt like an outgrowth of sorts of Mickey’s recent Global Drum Project tours, where Mickey and his percussion cohorts, aided by electronics wizard Jonah Sharp, explored various textural ideas that were rooted in some fixed composed structures.) For the first time ever, the “Drums” and “Space” segments were plotted out around certain themes. (In Jay Blakesberg’s fine photo books from the tour—available from blurb.com/thedead, the themes for each show are named in the set lists.) Some of the percussion ones were played several times (though with much variation, of course—this is still improvising on the fly), such as the “Obama Funk Jam,” which interspersed samples of Barack and others with some electronic legerdemain, “Music of the Roaring Seas” and “Magma”; while the “Space” jams were keyed around various celestial bodies and events: “Star Drone,” "Cosmic Debris,” “The Big Bang,” “Heartbeat of the Sun” and various jams named after planets.

Both drummers obviously benefited from being in good road shape—Bill was limber from playing so many shows the past year-plus with his great trio, and Mickey toured with the Global Drum Project and his eponymous, more song-oriented band. There were also all sorts of cool samples from the natural world and vocal samples from Africa and Asia which were all-enveloping (and which sound wonderful on the soundboard recordings). I give Mickey extra points for selflessly surrendering the vocal mike that obviously gave him such pleasure with the Other Ones and on the Dead tours of ’03 and ’04, and going back to being a percussionist extraordinaire exclusively. He and Bill played with tremendous power, clarity and sensitivity when it was required.

High Fives to the Other Guys! Keyboardist Jeff Chimenti has really come into his own the last few years. Anyone who paid attention to what he was doing with The Dead in ’04—and to what he does with RatDog all the time—was probably not surprised to hear him stepping out so effectively on this latest tour. But he was also given more opportunities for solos and he stepped into the fray and took solos, too, and he was always up to the challenge. His marvelously sympathetic organ and piano work provided the perfect coloration for so many songs, and he was at the wheel driving many a jam, as well.

As for Warren… well, he certainly rose to the occasion under the pressure of being the guy on this tour, without a second lead player backing him up. He took the time to really learn all the significant parts and signpost riffs, but he still put his own spin on things (outrageous slide!) and wasn’t afraid to diverge from the well-worn pathways carved by Garcia and others. And my own personal view (YMMV, needless to say) is that there is no one I’d rather hear tackling Garcia’s songs than Warren. He has truly internalized them—even the heaviest ballads—and he delivers them with unbridled passion and understanding. Check out what he does with “High Time” and “Comes A Time,” among others. That he can play so well in three bands (Dead, Mule, Allmans) is nothing short of remarkable; we’re so lucky to have him!

Variety is the Spice of Life! Thanks to the ongoing lists of Mr. Zomby Wulf on dead.net, we know that The Dead played roughly 150 songs (not counting “Drums” and “Space”) in just 22 shows—a stupendous achievement! No song was played more than five times, and 40 (or so; I suck at counting) were played only once. There were lots of intriguing left-field choices along the way, touching every phase of the Grateful Dead’s long career… okay, I guess it was a ripoff they didn’t play “Day Job,” “Money Money” or “Barbed Wire Whipping Party.” (Dare to dream, y’all!)

And what’s more, any song could turn up at any time. For the last few years, both Phil and Bob have been pretty good about abandoning the Grateful Dead’s rather formulaic approach to constructing set lists—where most songs generally appeared in the same spots in either the first or second sets. But even so, it was still somewhat shocking to find a “Stella Blue” or “Black Peter” in a first set (Buffalo and L.A. respectively), “Scarlet-Fire” as an encore (Shoreline), “Drums” and “Space” to open a second set (Madison Square Garden), and so on. With much of the traditional “first set” material mostly ignored (cowboy songs, blues covers), the band really delivered their best, most popular and jammiest stuff night after night, as well as really nailing a lot of their lesser-known songs, including Phil’s “Pride of Cucamonga” and “King Solomon’s Marbles.” You couldn’t even take for granted that the person you were expecting to sing a song on a given night would be the one to actually step up to the mike.


At different shows, Bobby or Warren might sing “Morning Dew” or “Days Between” or “Scarlet Begonias.” On some songs they’d trade verses—Bobby singing the first verse of “Bird Song,” Warren the second; or Warren singing “Lady with a Fan” and Bob taking over at the “Terrapin Station” part of the suite (“Inspiration…”). A nice touch.

Acoustic sets were few and far between but mostly appreciated by those who got to see them. Someday this band should consider doing an acoustic tour of smaller halls where that kind of music could really shine. But even in these cavernous environs, you had to love Bob’s alternately ethereal and roaring “A Hard Rain’s A-Gonna Fall” and Warren’s great take on Van Morrison’s “Into the Mystic.”

Everybody’s Playing in the Heart of Gold Band! It had been five years since The Dead toured, and even though Phil Lesh & Friends and RatDog and Mickey’s groups have done so much to keep the flame burning and the Dead Head Family together and dancing, there was something about these shows that made them feel like a reunion of sorts. There were lots of folks who hadn’t seen each other in years (and that tended to make the first sets most nights social occasions as much as musical ones, for better and worse). But there were also lots of newcomers—younger Heads who never saw the Grateful Dead, but who have clearly “gotten it,” either through the post-Jerry bands, or listening to recordings of Dead shows they got from friends, older siblings or parents. Young and old seemed to enjoy themselves, and I, for one, am cheered by the sight of new blood coming into the scene!

* * *

And now, some subjective favorites from the tour; really tough to pick among so much top-notch stuff. There were no truly weak shows in my estimation, and probably half of them would qualify as “really good” or “great.” Feel free to add your own favorites below.

Five (Yikes, Only Five?) Favorite Shows (in chronological order)

1. 4/25/09, Madison Square Garden, New Yawk
All right, back to a Gah-den one mo’ time! This was one of the toughest tickets of the tour, for obvious reasons, and the Dead came out with guns blazing (so to speak) to mow down the frantic New York crowd. Actually, truth be told, this show starts out weakly with a pretty awful (if heartfelt) “Cosmic Charlie” (couldn’t sing it in ’69 or ’76; it’s worse now). But all is forgiven once “China Cat” begins to unfold, and then the show really takes off with “Shakedown Street.” I love Warren’s faster take on “Ship of Fools,” and Bob handles “Cassidy” with typical fluid grace. The closing “Sugaree,” with Warren and Jeff all over that thang, is truly epic.

The second set opens with—WTF???—“Drums” and “Space” (or if you want to be technical about it, “Sphere of Io” and “Magma”)! From there, on paper at least, it looks like a psychedelic school bus ride through classic ’60s Dead, but listen to it and there’s no mistaking that this is today’s Dead. Dig: The “Cryptical Envelopment” is actually part of the “Space,” with Phil singing over an arhythmic electronic wash—much more like “What’s Become of the Baby” than a traditional “Cryptical,” and brilliantly realized. That’s followed by a careening “Other One,” a nearly perfect “Born Cross-Eyed,” a long, very meaty jam, and then “St. Stephen” (after all, “in and out of the garden he goes”!) and “The Eleven,” both in their more jammy, contemporary incarnations. But wait, they’re just warmin’ up! How about an lazy “Uncle John’s” to bring us back to earth, followed by a great “Unbroken Chain” (one of the best songs of the tour IMHO, and I’m not even that big a fan of it), and—WTF? Pt. 2—“Gimme Shelter,” belted with authority by Mr. Haynes. Yikes, I’m drenched in sweat just thinkin’ about it! (It’s another great soundboard. Take a moment to salute live mixer Derek Featherstone for a job very well done, in the hall and on disc!)

2. 4/28/09 Izod Center, East Rutherford, NJ
Sorry, but this will always be the Meadowlands to me (or the Brendan Byrne Arena)—old habits die hard. Both of the Jersey shows featured the great saxophonist Branford Marsalis sitting in with the boys, and each night the music was spellbinding. I’m going to go on the record right now and say that no outside musician has fit in better with the Dead over the years. Branford is confident enough to be a leader onstage on any type of material, yet he is also a completely sympathetic accompanist. His tone on tenor or soprano, his adventurousness, and his melodic inventiveness made him a perfect foil for Garcia the times they played together (Nassau ’90 being the most famous example), and he has fit in well with post-Jerry lineups, too: If you haven’t heard his playing on a Warren-sung “Low Spark of High-Heeled Boys” or the Middle Eastern-flavored “Space” from Raleigh, 8/17/04, check it out. The guy is hands-down one of the great improvisers of our time, so is it any wonder that he fits in so well with The Dead?

At this show, Branford and company dig into several of the same songs they tackled at Nassau in ’90, but rather than sounding like they’re trying to recapture some past glory, everything sounds utterly fresh and alive, from the nearly 20-minute “Bird Song,” to “Fire on the Mountain,” “Dark Star” (of course), “Eyes of the World,” a wondrous “Space,” a brisk and honkin’ “Lovelight,” and, my favorite of all, Miles Davis’ “Milestones,” which really gives Branford and Jeff a chance to blow, jazz-style. Wow! Don’t miss this one!

3. 5/2/09, The Spectrum, Philly
Both Philly shows are worth seeking, but this one gets the nod because it was the last time The Dead will ever play the aging arena, which is scheduled to fall to the wrecking ball shortly (no doubt we’ll all be enjoying footage of its implosion on YouTube up the road!) and they really pulled out all the stops and kicked out the jams for a typically rabid local crowd.

The first set kicks off with “Saturday Night” (always good as an opener) and includes a very nicely rendered “Althea,” an emotional “He’s Gone” (we all know who that’s about these days…) into an affirmative “Uncle John’s,” and a rollicking “Mason’s Children” complete with meaty jam, to close the set. Set Two rocks hard from the get-go with “Good Lovin’” followed by “Cumberland,” then sets sail on uncertain seas with “Cryptical Envelopment” and “The Other One.” This show’s “Space” drifts into the first of just two versions of “Morning Dew” on the tour—nicely handled by Bob—and then the back end of the show is killer: “St. Stephen,” “Revolution” (thank you, Warren!) and finally “Help-Slip-Frank” to bring it on home. There could only be one appropriate encore choice, and thank God they made the right one: “Samson and Delilah” had all 18,000 souls on hand screaming “If I had my way, I would tear this old building down!” Whoo-ee! (Actually, that’s not a bad idea—let Dead Heads do the demolition!)

4. 5/9/09, The Forum, Los Angeles
This just might be my favorite show of the tour, a total winner from first note to last, with many an unexpected twist and turn along this golden road. So, there they are in glittering L.A., no doubt with celebrities in attendance—are they gonna play the “hits,” maybe open with “Truckin’” or some such? No, sir! Instead they jump off the high dive and into “Viola Lee Blues,” jamming it out to Phil & Friends proportions (i.e. a lot), and using that as a launch pad into other songs: “VLB”> “Bertha,”> “VLB” verse 2 > “Caution” > “VLB” verse 3 > “Black Peter” (expertly sung by Warren). A considerably-better-than-the-Garden-but-still-not-great version of “Cosmic Charlie” ends the first set.

The second set is a fabulous set list played really well, including another dynamite “Shakedown,” “New Speedway Boogie,” “Scarlet-Fire,” “Dark Star” sandwiched around a Warren-sung “Wharf Rat,” and then a surprise closer: a rippin’ “Satisfaction” (followed by the de riguer “Saturday Night” encore, also smokin’)!

5. 5/14/09, Shoreline Amphitheatre, Mountain View, Calif.
OK, I really screwed up not going to this show. When this second Shoreline concert was announced, I was still hurtin’ financially from the mail-in for the first one (5/10), so I thought I’d skip this and save a few bucks. Big mistake: I missed a really hot show. This is another one that is really consistently strong top to bottom, but I’ve gotta say, it’s the first set that really blows me away. I had wondered whether Warren playing two shows with the Allman Brothers (I went to the first; loved it!) at the beautifully restored Fox Theatre in Oakland between Shoreline Dead concerts would affect his playing at all. Hard to say exactly, but the little jamlet preceding the opening “Jack Straw” sure sounds a lot like (sweet) “Melissa” to me! There’s a kick-ass “Mason’s Children” mid-set, then another fine “Ship of Fools” (where Warren sings “49 years upon my head…”). Then Bob goes into a fine “Standing on the Moon,” but right after the bridge, instead of rolling into the next verse, it veers into a full “Terrapin”! After a mini-jam at the end of that tune, right on the beat, they go back into the last couple of verses and coda of “Standing on the Moon.” Totally cool!

The second set has more delights, including a rare “Estimated” opener, the Anthem of the Sun duo of “New Potato Caboose” and “Born Cross-Eyed,” a fine nod to Brent Mydland (and Jerry) with “Dear Mr. Fantasy,” and then, out of “Space,” “Morning Dew” with Warren on lead vocals this time—it’s interesting to hear him try a quiet ending for this song; I think it works. I seem to recall there’s a very brief quotation of the Allmans’ “Mountain Jam” between the set-concluding “China Cat-Rider” duo. Then, in keeping with the previous Shoreline show’s triple encore (“St. Stephen> The Eleven,” “Touch of Grey”), the 5/14 show goes on for another half-hour or so with “Scarlet-Fire” and “Deal.” Goooood stuff!

A Bunch of Cool Things From the Other Shows Worth Checking Out

1. “Truckin’” from Greensboro, 4/12

2. “Dark Star”> “King Solomon’s Marbles” from Washington, 4/12

3. “Crazy Fingers” from Charlottesville, 4/15

4. “Comes A Time” from Albany, 4/17

5. “Goin’ Down the Road” and “Mountains of the Moon” from Worcester #1, 4/18

6. “Slipknot” > “Let It Grow” > “Uncle John’s” from Worcester #2, 4/19

7. “Smokestack Lightning” and “Stella Blue” from Buffalo, 4/21

8. “The Golden Road” from Wilkes-Barre, 4/22

9. “Death Don’t Have No Mercy” from Nassau, 4/24

10. “Tomorrow Never Knows” > “Black Peter” from Hartford, 4/26

11. “Days Between” from Meadowlands #2, 4/29

12. “New Speedway Boogie” from Philly #1, 5/1

13. “A Hard Rain’s A-Gonna Fall” from Chicago #1, 5/4

14. “Weather Report Suite” from Chicago #2, 5/5

15. “King Solomon’s Marbles” > “Stronger Than Dirt” from Denver, 5/7

16. “Saint Stephen” > “The Eleven” from Shoreline #1, 5/10

17. “Crazy Fingers” and “Dark Star” (verse one) from The Gorge, 5/16

Four Other Shows I Wish I’d Attended

1. Greensboro; 2. Charlottesville; 3. Worcester #2; 4. Philly #1"

Tour Dates 2009
Greensboro, NC, April 12, 2009
Washington, DC, April 14, 2009
Charlottesville, VA, April 15, 2009
Albany, NY, April 17, 2009
Worcester, MA, April 18, 2009
Worcester, MA, April 19, 2009
Buffalo, NY, April 21, 2009
Wilkes-Barre, PA, April 22, 2009
Uniondale, NY, April 24, 2009
New York, NY, April 25, 2009
Hartford, CT, April 26, 2009
E. Rutherford, NJ, April 28, 2009
E. Rutherford, NJ, April 29, 2009
Philadelphia, PA, May 1, 2009
Philadelphia, PA, May 2, 2009
Chicago, IL, May 4, 2009
Chicago, IL, May 5, 2009
Denver, CO, May 7, 2009
Los Angeles, CA, May 9, 2009
Mountain View, CA, May 10, 2009
Mountain View, CA, May 14, 2009
Quincy, WA, May 16, 2009

 

 

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