10-10-1994

USAir Arena

Landover, Maryland

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Recording info

Use alternative player

Identifier:

gd1994-10-10.sbd.miller.34563.sbeok.flac16

Source:

SBD -> Cassette Master (Sony D5) -> ? -> 3rd Gen Cassette D

Notes:

Patch Info: Schoeps MK4 -> Dat -> CD supplies: d2t04 – Franklin’s Tower (patched from 15:00 – 15:07) d2t05 – Estimated Prophet (patched from 0:00 – 0:07) d3t01 – Space (patched from 9:51 – 13:48) Notes: — Seamless transition between Discs 2 and 3 — Thanks to Gary Field for the Cassettes — Thanks to macdaddy for the Nak Cassette Deck

Description:

Set 1 Iko Iko Walkin’ Blues Althea Desolation Row Loose Lucy Eternity Set 2 Help On The Way -> Slipknot! -> Franklin’s Tower Estimated Prophet -> Terrapin Station -> Drums -> Space -> All Along The Watchtower -> Stella Blue -> Not Fade Away Encore I Fought The Law

Lineage:

3rd Gen Cassette (Nakamichi DR-1) -> Sony R500 (Pass Through) ->

Transferrer:

Charlie Miller

Play

Pause

Back

Forw.

Volume

00:00

1

Tuning

01:01

2

Iko Iko

08:28

3

Walkin’ Blues

05:46

4

Althea

08:51

5

Desolation Row

10:24

6

Loose Lucy

08:55

7

Eternity

09:24

8

Tuning

00:59

9

Help On The Way ->

03:55

10

Slipknot! ->

06:57

11

Franklin’s Tower

15:07

12

Estimated Prophet ->

12:54

13

Terrapin Station ->

18:00

14

Drums ->

09:19

15

Space ->

14:15

16

All Along The Watchtower ->

07:54

17

Stella Blue ->

09:38

18

Not Fade Away

06:51

19

Crowd/Tuning

02:59

20

I Fought The Law

03:25

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10-10-1982 – Frost Amphitheater, Stanford University – Palo Alto, California

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Comments

One response to “10-10-1994”

Scott Shlomo Krane

October 10, 2021

This show is great! Wow, never heard it. Some of my favorite shows of the ’90s were at Landover, MD, i.e., the spring ’91 run with Bruce (soon after Brent passed into history, methinks), in which the boys played both ‘Reuben and Cherise’ one night, a 20:00 ‘Eyes’ another, and finally a ‘Scarlet>Fire>Stir it Up jam’ on what I think I recall was the final night, before jetting up to Albany, NY, for another hot run at the Knick.This Fall ’94 show starts with a mellow and bouncy Iko. Jerry comes in with his soloing just a few measures after once the groove has already commenced. ‘Walkin’ Blues’ is always a treat. ‘Althea’ is hot, mellow, but nine-minutes in length, which is very generous. Bob Dylan’s ‘Desolation Row’ (Highway 61 Revisited, Columbia, ’65) and the Hunter/Garcia composition, ‘Loose Lucy’ (From the Mars Hotel, GD, ’74), are always setlist treats, for me anyways. Next comes an outrageous 10-minute ‘Eternity’ that is pure ecstasy at both the vocal verse reciting and the extended jam section in ‘A minor’, in which the band listens as well as it plays.The second set opens with ‘Help’>’Slipknot (8:00) with chordal soloing from Jerry>’Frank’s Tower’ with a long drawn out introduction which is accented by great percussive sound-effects from the Rhythm Devils. Jerry’s vocals don’t come in until 4:00. By the end of the jammed out medley, we’re more than 16-minutes into the set. Next the dynamics change in value and color with a 13:00 ‘Estimated’ at a highly cool, laid-back tempo. The guitar solo over the ‘B’ g major section comes at just shy of 4:00, and Jerry’s Mutron-III envelope-filter is on but not set that deep. At just over 8:00, the F#minor jam section begins when Bobby calls out his last, ‘Haya!’ and Jerry plays his first Dorian-mode lick, through the auto-wah signal. Vince does most of the comping with a horn patch on his synthesizer, but switches to natural piano, with string sustain. Phil becomes increasingly audible in the mix, throwing some notes underneath the sonic construction, outside the tonal center. Jerry follows the cue, and things take a turn for ‘space’. The dynamics fall through the air like a feather in the wind, and the band all but falls out behind Jerry’s delicate soloing. This moment of peace turns into the opening chords of ‘Terrapin Station’. The first jam comes at a little after 4:00 and Jerry’s guitar is lovely over Phil’s swinging bass and Vince’s colorful synth textures. 5:56 spells “Since the end is never told/ we buy pay the storyteller off in gold…” And “Inspiration/ Move me brightly” comes in at 630 roughly. At around 8:30ish, the vocals all have been recited, leading way to the interlude section which finishes open-ended and transitions into a lovely downtempo jam section, which stretches the ‘Terrapin (suite)’ to just past 18-minutes in duration. Jerry has on his Octaver for a few measures, before turning on the MIDI and entering some tippy-toe, high-rope-walking improvisation territory with a subtle brass tone called up on the digital interface. The percussion is back up in tempo, and Phil is playing hopscotch along their arbitrary rhythmic patterns, here comes Jerry hool-a-hooping; Bobby is the quietest with Vince just more audblie, but only punching in synthesized comping chords on every other downbeat. Finally is heard a moody enigmatic chordal statement from Weir, then he retreats again into the forest.I really love the ‘Space/Jam’ which follows. Great use of white-noise and electronic-machine buzzing to get things rolling. Before the clock hits 4:35 for the track, the Rhythm Devils are audible again, making clicking and brushing noises, everything sent through a digital delay and reverb echo. The strings slowly start to fall in line, first Bobby’s rhythm hits, moody and enigmatic, then muted Phil bombs, then Jerry’s frantic noodling. The synthesizer played by Vince performs a tone-poem of ‘out’ ‘free’ music which never would have happened without Ornette Coleman, Archie Shepp, John Coltrane, Sun Ra, et al.’Watchtower’ begins with great late-’90s-esque moody guitar effects on Jerry’s ‘Rosebud’>’Stella’>’NFA’ closes out the second set. And the encore is an always fun sing-a-long, and a word of advice to the Gen-X heads getting ready to kick it on Shakedown before hittin’ the road again: ‘I Fought the Law and the Law Won!’

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