Monday
40th Show of Year
9th Show of 1989 Summer Tour (12th if you count the 3 June Shoreline
Shows)
The final three shows of
the 1989 Summer Tour began on a Monday in rural Wisconsin at easily
one of the most pristine places to see the Dead --- Alpine. Sadly,
the band would be barred from Alpine following the final show, and
would not play Alpine again until without Jerry in 2002. The Garcia
Band would play Alpine in September 1989.
7.17.1989 is for the most
part (the Row Jimmy, Masterpiece, Push, and MNStopped are omitted
and replaced with the 7.19.1989 West LA, Desolation, and Deal)
presented on the DVD Downhill Free Here. The DVD is very appealing
because it does not mar the songs with annoying psychedelic side
effects.
Let the Good Times Roll
starts out the concert to a dusk setting. I've really grown to like
this opener and this version is just as great as most. The
harmonies, which really make the song, are all in synch and the band
seems happy. The finale has very nice series of Jerry notes,
followed by a Brent falsetto, followed by Bobby falsetto screams
that suggest the evening as a whole may be special.
Feel Like a Stranger
immediately follows. The DVD shows Jerry almost prancing on the
stage with a big smile on his face. Based on other videos I've seen
of the band (particularly 1984 and 1985) Jerry seemed very healthy
and happy. His eye contact with Brent is nearly incessant through
the Stranger, and Jerry was smiling a lot. The main jam is perhaps a
bit short. There is only one main theme, but Jerry does a good job
of creating a groove. The jam is not overly impressive, but the band
sounds quite in synch and relaxed.
Jerry next delivers Built
To Last. As with the progression of the other new Jerry tunes,
notably Standing On The Moon and Foolish Heart, Built To Last was on
a roll. The previous version of Built To Last (7.9.1989) was a
highly exceptional version, as was the version on 7.17.1989. Jerry's
vocals were now confident and his inflections on certain phrases
suggested that the song was beginning to take its own form. Weir's
note progression through the song encourages the contemplative edge
of the lyrics. Truly, it now was a Grateful Dead classic. To
highlight the previous comment even moreso, Jerry chose it as his
first tune of the night on 7.17.1989. As with the previous versions,
Jerry's singing is confident yet suspicious, and the band's rhythm
is completely in tune. Another fantastic version of Built To Last.
On the DVD, as the song ends Jerry turns to face Kreutzman who puts
a thumb's up --- Jerry smiles in return.
Next is Me'n My Uncle.
Weir's singing is a bit relaxed in comparison to the vicious early
70's versions. But, as with the rest of the scene, the music and the
band had changed over the years. Late 80's Me'n My Uncles were not
so much about attacking the listener but seemingly moreso on the
careful presentation and nice improvisation by throughout the song.
All stats included, MAMU had only been performed 4 times in 1989
(the previous version on 5.7.1989 which was above average but not
exceptional). Jerry's rhythmic improvisation during the song portion
is perhaps a bit repetitious, but the main jam has Jerry taking nice
improvisation leaps and creating a nice tension filled ending. The
song's finale does an adequate of pouncing on the ending "Left
his dead ass there by the road." Not the best but not the worst
version. If anything it sounded a bit too polished and not gutsy
enough.
Jerry immediately drives
the band not into Big River or Mexicali, but Cumberland - a bit of a
surprise. The harmonies and jerry's singing are perhaps a bit rough,
but this Cumberland has a swift pace and the enthusiasm seems to be
very present. On the DVD, Jerry is smiling nearly through the whole
song. Jerry's first solo is very fast and lifts the band from a fast
pace to a faster pace. The second jam has an even faster pace and
high note squeezes (ala Europe 72 versions) and high note bends that
reek of Southern Blue Grass Roots. On the DVD, as the second jam
starts, Jerry and Brent are each bobbing their heads while staring
at each other. The finale harmony sounds better than the harmonies
at the beginning of the song - and as a whole the Cumberland was a
success.
This sandwich,
MAMUCumberland, featured two songs rarely played by the band as of
7.17.1989. The MAMU was a bit too clean for my taste (not enough
room for error), but the Cumberland sounded great.
Weir's bluesy rock tune is
All Over Now. I've always really liked the Dead's version of this
tune. Another great tune for Jerry to harmonize Bob. Bob's singing
is a bit hysterical but not as much as other versions. The first
Jerry solo is crackling and very complex while sounding simple -
pure Jerry at his best. The main jam starts with Brent organning his
guts out with gushing keyboard solo. Mydland's solo reaches some
great areas and is interesting in its melody - more than just the
typical energy rising organ runs, but really creative. Jerry jumps
in at this point and provides a rhythm in Weir's absence (it must
have been his turn). Finally Weir returns but the jam had stalled a
bit. The final push of the major jam was lost and the chord pounces
didn't sound completely on the ball (1.. 2.. 3.. (slight pause)
___4___ (bang)). Because of this messed up solo, this version is
below average. The DVD failed to shed light on whether Weir was
having technical trouble during the finale jam.
Row Jimmy is also a bit
bittersweet. The song itself is sung nicely by Jerry but is almost a
bit too fast. This leaves a hurried feel to a sung meant to be
played very slowly. The jams are nice as Jerry reaches some nice
points and leaves the solo relaxed enough not to kill the version.
But, these jams are at best average and by no means are
transcendental. The finale is marred by some flubs and the overall
effect of the song is lost. This was removed from the Downhill From
Here.
Masterpiece is next, which
also was removed from Downhill From Here. The harmonies between
Jerry and Bob sound great, and the song for the most part is nailed.
Of note, Brent was beginning to sing harmony at times. But during
the Jerry solo the rhythm's timing is off at one point, and as Jerry
creates the push to the "When I left Rome" segment, Brent
overplays his keyboard drowning Jerry's notes out. Better versions
exist. The energy just isn't as sizzling as in other versions (for
example, see the 7.10.1989 version which is incredible except for
the last 10 seconds).
Jerry's next tune is When
Push Comes To Shove. This tune gets a bum rap I think. I think the
lyrics are just fine, but the jam segment is a great pad for Jerry
to improvise within chordal structure (just like West LA Fadeaway).
Apparently the evidence is against my contention because this was to
be the final When Push Comes To Shove. This version is not bad as
Jerry sings nicely and the band provides a swinging rhythm. The jam
has Jerry running through his scales but not really providing an
impressive display (unlike the 6.19.1989 version; sans the Weir
effects). Shove is also omitted from Downhill From Here, as is the
ensuing Music Never Stopped.
This rather up and down
first set ends with Music Never Stopped. The previous version of
this was played on 7.10.1989, which was very well done (despite the
slightly rusty transitions during the final jams). It appeared that
perhaps the band intended on keeping this tune in their repertoire.
This version starts out with a slick and slappy rhythm that adds a
sarcastic twinge to Weir's presentation of the lyrics. Jerry mostly
directs this approach, as his rhythm is choppy and direct. The often
changes in tempo of this song make it fun to listen to and the
7.17.1989 version rises to the task. The band leaps into the drift
segment after the final "Music Never Stopped." Jerry
starts the drift with soaring notes that must have cascaded into the
Alpine Valley breezes. This jam starts out slowly and barely
increases in pace, until Jerry starts the ascension. The rhythm
clearly responds and Weir starts to emit very nice note blasts as
well. Jerry finally reaches a zenith and starts repeating the same
cycle of notes permitting the band underneath him to switch to the
overdrive segment of the song. As they do this Jerry effortlessly
switches gears as well. Unlike the 7.10.1989 version, this
transition was flawless. The finale is an all out jam with Jerry
repeating cycles of high end notes along side Weir's signature MNS
finale bars. As noted, the set as a whole was a bit up and down, but
what a great way to end it.
The second set begins with
one of the finest China Cat's I've ever heard. Throughout the song
the band is tight, not over anxious with their complex parts, and as
a whole just let the song develop. Jerry's singing is subdued and
not aggressive. Brent's keyboard fills the gaps nicely and does not
mimic or ape the Weir / Garcia parts. The jams in-between the verses
are confident and flubless.
The highlight of the show
(tour?) happens during the instrumental finale to China Cat. Jerry
slowly set the stage for an incredible peak at the finale of the
instrumental jam. After the final verse, he slowly works through a
series of notes cycling back and forth. On the last run, however, he
surged deeper - and the band instantaneously followed. As the pace
suddenly began to increase, the jam was now in full gear and surging
ahead. As the band set a very fast pace Jerry began a series of note
cycles high up on the fret board that began to make the sound
delirious. Not only was the band cooking, but Jerry was teasing the
ultimate finale. For about 20 seconds Jerry dances his notes in this
zone and at any second within it the band could have entered the
structured finale. But, Jerry didn't and instead dove the band
deeper into the jam with a return to the middle portion of his fret
board. This was short lived, but the effect was to reset the jam and
the tension filled within the jam.
The beauty of the Grateful
Dead is endless, but one aspect that I truly enjoy is their ability
to create tension not from what they are doing but from what they
are not doing. In this instance, the tension was from Jerry teasing
the finale of Ccat and making the listener nearly beg for the
finale.
Of course Jerry starts
another attack, and this time he skips through his notes to a very
high-end series of spackles. This time Jerry has returned to
creating the platform for a monstrous finale. He almost plays rhythm
and assists the band in creating the right sound from which to
spring. Of course, the ultimate result of this minor segment is more
than just adding a cool sound. Jerry, by switching from
improvisational lead to rhythmic lead once again assists in creating
tension. The listener upon hearing this can't help but ask,
"Where's Jerry?" You hear him but you don't know what the
hell he's doing. One thing you do know is that he will pounce, but
the question is when?
As the jam surges forward,
the pace begins to envelop the sound. Brent is freaking out on his
keyboard. Lesh is dropping short lasting but impressive bombs, Weir
is nearly fanning his guitar, and the drummers are pounding away
about as fast as possible. Jerry, on the other hand, was still
racing through his rhythmic notes ever ever ever increasing the
tension. Sure enough the sound could have been likened to the Hoover
Dam about to explode. Still, with all of that pace and tension,
Jerry was still dancing through his rhythmic improvisation.
Just as the sound was
literally about to implode from too much pace, Jerry springs out of
the blob of hysteria and starts another improvisation surge toward
the ultimate goal - Ccat finale. The band was forced to keep the
pace underneath Jerry and the job must have been tasking - they were
going on 60 straight seconds of pure all out jam pace. As the
improvisation hits a zenith Jerry perfectly leaps onto the
structured finale. After all of the tension that led to that point,
the structured finale is soothing. Yet, a bit unnerving because of
its intensity. Jerry Garcia - the ultimate teasemaster.
From beginning to end, this
China Cat instrumental jam provides one of the finest 3 mintues of
Dead jamming I've heard (actually 2 minutes 48 seconds). I think it
definitely ranks among 8.27.1972 and 11.19.1972, except of course,
Jerry provided the lead instead of Bobby.
And, the DVD does a
fantastic job of focusing on Jerry's fingers throughout the main
portions of this jam (and on Weir's and Lesh's). I recommend buying
the DVD just for this 3 minute jam --- the remainder of the show is
gravy.
The ensuing Rider was
doomed to be in the shadow of the epic China Cat, but it still was
exceptional. Jerry's first solo is a bit tame and he sounds
distracted (the DVD suggests that Jerry was having no technical
troubles as he stood in one place through his lead). The final jam,
however, is literally blistering as Jerry scorches through his jams.
Easily one of the finer Riders of the year. Easily one of the finer
Chiders the band had done.
The band immediately
launches PITB. The song is tame and the timing of all the
instruments almost hypnotic. On the DVD the band looks serious and
in full concentration.
The first theme of the jam
features Jerry doing very timed and rhythmic PITB melodies while
Lesh and Bob take turns emitting signature runs. Lesh, in
particular, opened a bit of a solo. This intro was very standard for
this era, but this intro is nicely done.
From this Jerry opened up a
very nicely paced PITB theme that was a bit typical but certainly
enjoyable and certainly impressive. Jerry really starts to fly and
the band is equally in pace (reminds me of Star Wars as the
Millennium Falcon flies through hyperspace).
Just as the band begins to
hit a nice stride Jerry opens the third theme by altering the pace
of the jam with a new melody. The band quickly follows suit, but not
necessarily in Jerry's direction. For a few moments Jerry is going
one way with his new theme while Weir emits very funky wah wah
blasts.
The fourth theme starts
with a slow drive by Jerry. The band slowly calms behind him and
they start into a drifting type jam. Mydland influences the
direction by providing a tension filled melody. Jerry pounces on
this and sends the jam towards a desperation sound. Jerry reaches a
point where he nails some chilling note cycles. As these cycles are
finished the jam starts tumbling from the tense back to familiar
PITB. Another of Jerry's fine skills was the ability to reach a
zenith point in a jam and effortlessly run equally as fast in the
opposite direction - complete fluidity.
The fifth theme has Jerry
returning to familiar PITB jams. This lasts for about 30 seconds.
Jerry next opens the sixth
theme by altering the effects on his sound and slowing his pace a
bit suggesting a desire to search for a new song. Upon reaching the
desired sound, he starts a timed note progression that almost sounds
like a march. At this point PITB had certainly been exited, but no
new song was clear. The pace gets quite delicate as the band is
playing very slowly while Jerry is delicately (yet very quickly)
spinning transition webs. At times the sound is PITBish, and at
times not.
Eventually Jerry starts the
seventh theme which is a extremely impressive drift starting with an
increase in pace, followed by a decrease in pace that lands directly
in Uncle John's Lap. In his review for the Compendium, Brian Dyke
purports that instead of typical B scale drift into UJB, Jerry chose
a G scale drift. Either way, the transition was very sweet.
A stunningly complex PITB
for this era. Jerry's ability to flip themes at such short notice
was uncannily on on 7.17.1989. His mastery of pace changes was also
clearly still present. For the most part, the DVD shows Jerry
hanging his head throughout these jams.
The UJB is the band flexing
its muscles. Unlike the angry version of 7.10.1989, this version is
more of a tale. The overall pace is slow, and Jerry's solos are
crisp and direct. His first jam is flawless and demonstrates his
unique ability to create melodies out of nothing. As the song
reaches the main jam the pace rises. The main jam starts with the
structured jam, but Jerry breaks free and starts his own
interpretation. Basically he presents a pattern of very fast sprints
followed by five or six lengthy notes. The intensity dramatically
rises as the band rhythmically creates a storm cloud underneath
Jerry. Jerry makes the storm even more intense by joining in the all
out strum session that effortlessly breaks into the bridge. The DVD
shows Weir rushing forward and backward in unison with the rhythm.
After the final vocals, the band launches into another rhythmically
driven UJB outro theme. But Jerry, instead of joining in on the jam
begins to drift back towards the confines of PITB (for a truly
breathtaking glimpse of UJB back to PITB listen to the 11.17.1973
transition). The band does little to resist as the sound drops into
a slow but extremely impressive Jerry drift that lands into the
strumming of a G chord, followed by C, followed by D, by C, and by G
--- Standing On the Moon. This was a very fine reading of UJB. As
noted, it is not as aggressive as others, but more soothing. It
certainly fits in perfectly with this truly amazing pre drums second
set of 7.17.1989.
Standing On The Moon is a
masterpiece. Rumor has it that there was a full moon that arose
behind the stage just as Standing On The Moon started. The DVD does
not confirm this as its focus is on the stage. The band's confidence
with the song was very evident. Jerry's singing was direct,
heartfelt, and meaningful. This was, in my opinion, the first
exceptional Standing On the Moon. The previous versions all lacked
for some reason or another (even the previous version on 7.7.1989
which was a great success didn't have the ephemeral feel that this
version has). The outro jam starts slowly with melodic contemplative
note runs, but the jam builds and hits a point not of intensity but
perhaps melancholy. Jerry drifts the jam downward and to a
standstill. The song ends and the there is silence for about 3 full
seconds before the start of drums.
This must have been another
impressive moment for Jerry. Once again in his exquisite career he
had written a new song, developed the music, struggled through the
rough early versions, altered its complexion, and, on 7.17.1989
watched his labor turn into fruits. The DVD shows that the lights
dimmed to near darkness as the song concluded, but my guess is that
Jerry likely was smiling.
After the drums, Jerry
starts the space out only with one of the drummers. His first Space
theme is relatively happy in tone and shows off his newfound mastery
of the midi by switching between a horn sound and a bell sound. Weir
arrives and starts providing a few feedback blasts and wah wah
blasts. Weir's effect is to make the sound as a whole a bit eerie.
Jerry next starts a series of waterfall sounds. The third theme has
Jerry's guitar sounding like the bass on Seinfeld. His pace
increases and soon Jerry is flying through his lead. This jam is
rather impressive. Through the third theme Jerry switches to the
flute sound and continues the incredibly fast picking. The notes
with this sound tend to blend together lending a nice psychedelic
effect. Jerry switches back again to the Seinfeld bass. A fourth
theme is started with a very odd sound from the midi. It quickly
switches to the 7.15.1989 Close Encounters midi sound. Sure enough
Jerry starts another interesting Close Encounters jam. The fifth
theme has Jerry attacking the high end of his fretboard before
emitting more waterfall sounds. The sound and feel is gushing, and
at this point the entire band is onstage with him. After the
waterfall is complete, Jerry switches guitars and starts a nice
drift accompanied by a massive cymbal splashing that blends into the
Wheel. A rather impressive Space considering the second theme's
pace, and the Close Encounters jam. As had been the trend through
this Summer 1989 Tour, the Space segments were getting better and
better.
The DVD unfortunately clips
about 4.33 minutes of the Space. What is missing is the third theme
to the beginning of the Close Encounters theme.
The Wheel is well done with
nice vocals and nice jams, but as a whole is not really above
average. None of the jams are flubbed, but the jams won't force you
to hear them either. Jerry hints at Gimme Some right as the outro
jam to the Wheel starts, and the resulting transition is about 10
seconds in length.
Gimme Some rolls in and
Brent's vocals sound a bit strained. The band seems very enthused,
but this by no means is an exceptional version. The jam within the
song starts with Jerry missing a note and the resulting lead from
him is at best average. The outro jam fails to gain momentum before
landing into GDTRFB.
GDTRFB was making its
fourth appearance in 1989. The first was on 4.2.1989 (an above
average version); the second was 4.13.1989 (a below average
version); the third was 8 days previous on 7.9.1989 (which was above
average; came out of an at best average Gimme Some; and featured
tight Jerry solos that by no means were overly impressive). This
version is better than the previous three, but just barely better
than the 7.9.1989 version. The first solo by Jerry is tight and well
directed, and Weir even adds a China Cat intro theme. At the close
of the second verse, Jerry raises his guitar high and leans toward
Brent, as if to introduce his turn. Brent's solo cooks. Jerry's jam
follows Brent and starts at a fast pace and gets even faster. The
band kicks in rhythmically but there is not the sense of
overwhelming jam that other versions of GDTRFB almost need to be
exceptional (see 8.22.1972 - by the time the band is at the peak of
the second jam the feel of the jam is extremely intense; whereas
this version while definitely including fast jamming doesn't have
the extra feel of a special moment).
After the outro jam Jerry
and Bob start the chords to NFA. Absent an entry jam, the band
launches into the first verse. In-between verses, Jerry opens up a
strum session as he fans through nearly each and every chord before
opening up the space for an extended jam. This jam is short-lived
however as opens the jam complete with extended feedback, but
instead of expanding, the bands drops back for the second verse.
After the second verse, Jerry does open up an extended jam. The
first them is a typical NFA jam that lasts a long time. As a result
Jerry builds up a lot of pace and the band underneath him starts to
get restless. The feel of the jam was that it would blow at any
second. Instead Jerry started fanning low notes resulting in a
gurgling or drowning sound to the jam. Jerry leaps from this into
very high notes with the band returning to familiar NFA chords.
Jerry starts the second theme which is still traditional NFA but his
improvisation is more pronounced during this theme and the jam as a
whole is much more interesting. Despite a frantic attempt by the
band to return to NFA, Jerry persisted in jamming in the opposite
direction. The thought of the band pulling a rubber band one way and
the Jerry the other is rather appropriate. Finally Jerry lets go,
the jam or rubber band snaps back onto the band, and Jerry
delicately starts the NFA chords. More easily written than
performed. The NFA ends with an extended vocal delivery by Bob,
Jerry and Brent. This NFA had two very nice extended jams. The crowd
bridges the gap between the NFA and the encore with extended singing
of NFA. The DVD shows the band in high sprits as smiles abound.
The first encore is Bid You
Goodnight. This was the first Bid You Goodnight since 12.31.1978
(which someone once said was 756 shows earlier than 7.17.1989).
Obviously this version is marred by the vocal restraints of the
band, but from a sentimental aspect, it couldn't have been sweeter.
A real treat for the crowd. And, this was the beginning of the
re-release of songs that seemingly had been retired…
The band leaves the stage,
but returns much to the surprise of nearly everyone for a second
encore. This time the band pulls out Johnny B. Goode. Jerry's solos
are very well done and Brent has a nice solo too.
A very fit ending to this
great show. Interestingly, the set list provides that Weir had only
one song wherein the verses were sung only by him - PITB - until the
JBGoode encore. Clearly this was Jerry's performance. The Good Times
Roll, Built To Last, and Music Never Stopped were all exceptional.
The Rider and UJB were exceptional. The NFA had two very well done
jams. The Bid You Goodnight marked not only a very nice conclusion
but also the beginning of the re-release of retired songs. The PITB
featured a very complex series of jams from Jerry, as did the post
drums Space. The Standing On The Moon was the finest of the year,
and marked the first exceptional version. And, and, and the China
Cat Sunflower finale instrumental jam was easily one of the finest
Jerry led jams of their career. For those who challenge the notion
that the Dead was as good in the 80s as they were in the 60s/70s (as
I used to), check this show out.
The show rating of 7.74 is
a bit deceiving. Typically my goal is to flesh out the
"exceptional shows" which comprise performances averaging
better than or equal to 8. But 7.17.1989 was one of those shows that
despite the dips in the first set and the post drums second set, the
band truly made it evident that this was a special night.
A very nice audio mix of
this show would be: LTGTR, Built To Last, MNStopped, Chider,
PITB>UJB>Moon; Space, NFA, Bid You Good, JBGoode.
The stage being set, the
band would return the next day and continue the 1989 Summer Tour -
in rain.
Set 1: 7.445
Set 2.1: 8.45
Set 2.2: 7.63
Set 2: 8.039
Show: 7.74
LGTR 8.25
Stranger 7.25
Built To Last 8.25
MAMU 7.15
Cumberland 7.8
All Over Now 6.75
Row Jimmy 6.95
Masterpiece 6.8
Push Comes To Shove 7.25
MNStopped 8
China Cat 9.5
Rider 8
PITB 8.75
UJB 8
SOTMoon 8
Space 8
Wheel 7
Gimme Some 6.8
GDTRFB 7.6
NFA 8
Bid You Goodnight 8
JBGoode 8
Rob
Goetz ©
