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Dick Latvala - 12:28am Sep 7, 1997 PDT (#305 of 308)

O.K. I have finally gotten some of my thoughts down for 1972 (actually thesecond half of the year, since there are too many unknowns during thefirst half!). What follows are basically my notes, and shouldn't beconsidered as anything other than initial thoughts. The only reason thatI'm doing this, is to stimulate other opinions, which then, will hopefullygive a more comprehensive account of this exciting, and most clearlyfundamental period in G.D. history. This era stands alone in itsuniqueness, and along with the whole year of 1973, we have the two mostintense periods in G.D. history. There's lots more to be discovered.

1 The month of July is pretty un-eventful, outside of the "Truckin'->Other One-> Jam" and "Not Fade Away->GDTRFB" from 7/16/72- Hartford, Ct.

2) The first examples of exceptional playing begin to occur at the B.C.T.run in August. The 'Dark Stars" from 8/21 and 8/24 are enormous. I need tore-listen to the 8/22 show, but it seems to me that the show from 8/24might be the winner here. I haven't ever heard the 8/25 show. 3) Now weget to the most over-rated show in G.D. history, outside of 5/8/77-Ithaca, N.Y., of course! This show from Eugene (8/27/72) has some excitingplaying (Playing in the Band, Bird Song, China Cat->Rider and the DarkStar jam) but it doen't hold up as a whole show. There are many betterexamples where the playing is more consistently strong throughout the

show.(These shows include 9/21, 9/23, 9/24, 9/26, 9/27, 9/28, and 10/18)

4) The shows from early September (9/3, 9/9, 9/10, 9/15, 9/16, 9/17 and9/19) don't have much to offer when compared to the above mentionednights. I should mention that the "jam" segments of each of these nightsis very exciting. 5) Now to the really exceptional material. First up is9/21/72- Philadelphia Spectrum. This show is one of my favorite showsever. This version of "Dark Star->Morning Dew" might be the best one!(there is a jam segment that is very unique and thrilling, and one that Idon't really think that I have ever heard before.) The "Not FadeAway->GDTRFB->NFA" is another delicious morsel from this power packedevening. Each song is well played and worthy of attention. I think theother major highlights are "Sugar Magnolia", "Bird Song", "Loser",

"Playing in the Band", "Truckin", and "Cumberland Blues".

6) The 2 shows at Waterbury, Ct. on 9/23&24, are both major highlightshows from this era. The 9/23 show has the last, and very exciting versionof "That's it for the Other One" (I don't consider the attempts in 1985 tobe worthy of mentioning in this class). "China Cat->Rider" and "Playing inthe Band" are both the cream from the first set, which is very good. The2nd set has another highlight besides the above mentioned one, and that isthe opening and closing pieces, which are both a bit unusual. "PromisedLand->Bertha->Greatest Story Ever Told" starts the 2nd set off with arocket. The night closes with very exciting versions of each song in thisvery unique arrangement: "Sugar Magnolia->GDTRFB->NFA->Saturday Night".The next night features outstanding versions of "Playing in the Band" and

"Dark Star". The jam segment, just before "China Cat Sunflower" begins,is worth any effort to hear.

7) The 3 nights at the Stanley Theater, in Jersey City, N.J. on 9/26->28,comprise a run of three nights in a row that probably have never beenequaled. I tend to favor the middle night (9/27), but really each could bea release on it's own. I'll save blabbering about the particulars thistime, since these three should be heard in their virgin state, and thenyou can each form your own conclusions without previous bias.

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8) The next most exciting show, is the middle night of the run of three atthe fabulous Fox Theater, in St. Louis, Mo. , October 18, 1972. It took meawhile to hear this show correctly, but now it is a clear example of oneof the very best, with a couple of unusual and unique treats within the"jam" segment before "Morning Dew". The show from 10/2/72, atSpringfield, Ma. is one of those that deserves to be heard a few moretimes, and may achieve the levels of 10/18/72.

9) Something happened at the 10/21/72 show at Vanderbuilt Univ. thataccounts for why we don't have any good tapes from this period of 10/21thru December of 1972. Bear told me a story about how a major piece ofrecording equipment got stolen on 10/21, and basically disrupted thetaping of shows for the rest of the year, other than 3 shows at Winterlandin Dec. But what is available is pretty good! For me the highlights arethe 2nd sets from 10/24, 10/26 and 10/28. Phil is the key for thesenights. He gets into a unique, thematic and most thrilling type ofjamming, that me and David Gans have called the "philo stomp". There areat least a couple examples of this during November, but more listening isnecessary. The 2nd sets from the 2 shows in Oklahoma were very exciting.On 11/14, there is a most satisfying transition from "He's Gone" into"Truckin", that basically is a great "Other One" tease. Another treat isthe actual entrance into "The Other One". On the following night therewasn't really a jam that comprises the bulk of the 2nd sets. The playingwas very good, with worthy versions of "Playing in the Band", "Sugar

Magnolia", and the "Not Fade Away->GDTRFB->NFA" closer.

10) In Wichita (11/17), one of the best shows, of this period occurred.Garcia is playing with gusto and originality thru-out the show. :"BirdSong" and "Sugar Magnolia" are the highpoints outside of the real goodsdelivered in the jam: "Truckin->jam->The Other One->jam->The OtherOne->Brokedown Palace". (the "jam" segments contain lengthy and veryunique playing.)

11) The last 5 shows in Texas, are each worth getting. The quality is notso hot, but the playing is ferocious. On 11/18, in Houston, there is amajor, top 10 of all-time, version of "Playing in the Band". (I amstarting to think that this period has possibly the most intense versions

ever for this defining piece of music.) The show on the following night(11/19) is one of the most exciting shows over-all, from this southerntour. There is a "jam" segment before "Miss.1/2 step..", that containsseveral distinct, and very unique themes, including the "philo stomp","weather report" theme, a brain-fry, and a very lengthy bass solo! The2nd set jam from 11/22-Austin, is tremendous. It goes like this: "He'sGone->Truckin->jam->drum solo->The Other One->jam->bass solo->The OtherOne->Stella Blue". This version of "He's Gone" is one of the top 10attempts ever. It is long and drawn out, and there is a nice long spacebefore "Truckin", that consists of pleasing variations on the "He's Gone"theme. This version of "Truckin" is exceptional in that it has a lengthysection at the end that relentlessly builds and builds till there seems tobe no recourse but "The Other One". Instead, they opt for a "drum solo",

which comes to a complete stop, and then Phil takes over and off we gointo a long and treat-filled exploration of "The Other One". (The firstverses don't start until after about 30 min.) There are more highlights tothis show. The versions of "Black-throated Wind", "China Cat->Rider","Bird Song", "Playing in the Band", "Greatest Story", "Big River", "Rambleon Rose", "Sugar Magnolia", and "Saturday Night" each are notable and helpdefine what an exciting show we have here. The San Antonio (11/26) showhas a great "Dark Star" that has a nice bass solo and thrillingjam("tighten up"), among other treats. Another of those unusual medleysto end this one: "Sugar Magnolia->GDTRFB->Saturday Night".

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12) I haven't yet heard 12/12/72- Winterland, but I can say with someconfidence that the performances on the previous 2 nights were nothing towrite home about. Poor is how I described them. Long Beach (12/15) wasanother matter. Although I don't think of it in the same class as theshows at the end of November, it does contain some excellent playing inthe 2nd set jam that is highlighted by a long "jam" section that follows"Truckin", which contains some improvisational jamming that is especiallyunique, and then comes "Dark Star"! Sounds great, right? Unfortunatelythe only part that one notices as "Dark Star" are the lyrics. As soon asthe words are over, the playing resumes in the unique style that preceeded"Dark Star". This very interesting part continues for many minutes beforethe chords of "Morning Dew" become apparent.

Well, that brings us to the end of a most prolific and thrilling year. Iimagine that it would have been impossible to forsee what an exciting yearof music was next in store!

Dick Latvala - 12:40am Sep 7, 1997 PDT (#308 of 308)

Now I shall go back and read this topics postings, since near the end ofAugust, which is the last time that I have read here. I think that I haveto get completely away from this from time to time! I intend to thenanswer the questions that are the most Hopefully this will occur sometime

in the near future!