The Dead Live at XL Center on 2009-04-26
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- Publication date
- 2009-04-26 ( check for other copies)
- Topics
- The Dead, Muletaper, Beyerdynamic, MC930
- Collection
- TheDead
- Band/Artist
- The Dead
04/26/09
XL Center
Hartford, CT
*********************************************************************************************************************
Source:
2x Beyerdynamic MC930's(Matched Stereo Pair)(DIN)>
Canare Cables>Digi-Mod-Edirol-UA5>Creative Nomad JB3(44.1 khz)
Transfer:
JB3>Nomad Explorer>Wavlab 5.0(fades/track cuts)>Traders Little Helper>Flac 16bit
Recorded from (the sweet spot!)DFC-OTS at SBD@16 ft high
Recorded/Edited by MULETAPER
No.D.A.E.
***Thanks to a special few freinds/tapers for making this recording possible.
~find love thru music and share it~
**********************************************************************************************************************
Disc 1:
Set I:
01. Tuning
02. Bertha
03. Till The Morning Comes
04. Little Red Rooster
05. Row Jimmy
06. All Along The Watchtower
07. Glory Road
08. West LA Fadeaway >
09. Cumberland Blues
Disc 2:
Set II:
01. The Weight
02. Tomorrow Never Knows >
03. Black Peter
04. Greatest Story Ever Told >
05. Rhythm Devils >
06. Space >
Disc 3: (set II cont.)
01. King Solomon's Marbles >
02. Viola Lee Blues >
03. Samson & Delilah
Encore:
04. Donor Rap
05. Ripple
- All Disc changes are seamless
Related Music question-dark
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
Song Title | Versions | Compilations | Covers |
---|---|---|---|
Tuning | |||
Bertha | |||
Till The Morning Comes | |||
Little Red Rooster | |||
Row Jimmy | |||
All Along The Watchtower | |||
Glory Road | |||
West LA Fadeaway > | |||
Cumberland Blues | |||
(Set 2) The Weight | |||
Tomorrow Never Knows > | |||
Black Peter | |||
Greatest Story Ever Told > | |||
Rhythm Devils > | |||
Space > | |||
King Solomon's Marbles > | |||
Viola Lee Blues > | |||
Samson & Delilah | |||
(encore) Donor Rap | |||
Ripple |
Notes
The Dead
04/26/09
XL Center
Hartford, CT
*********************************************************************************************************************
Source:
2x Beyerdynamic MC930's(Matched Stereo Pair)(DIN)>
Canare Cables>Digi-Mod-Edirol-UA5>Creative Nomad JB3(44.1 khz)
Transfer:
JB3>Nomad Explorer>Wavlab 5.0(fades/track cuts)>Traders Little Helper>Flac 16bit
Recorded from (the sweet spot!)DFC-OTS at SBD@16 ft high
Recorded/Edited by MULETAPER
No.D.A.E.
***Thanks to a special few freinds/tapers for making this recording possible.
~find love thru music and share it~
**********************************************************************************************************************
shntool:
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182:06.39 1927439008 B 0.5650 (20 files)
- Addeddate
- 2009-05-12 14:00:09
- Identifier
- dead2009-04-26.98758.muletaper.mc930.flac16
- Lineage
- JB3>Nomad Explorer>Wavlab 5.0(fades/track cuts)>Traders Little Helper>Flac 16bit
- Location
- Hartford, CT
- Taped by
- MULETAPER
- Transferred by
- MULETAPER
- Type
- sound
- Venue
- XL Center
- Year
- 2009
comment
Reviews
Subject: Hodgepodge in Hartford.
They start with a double-rocker opening sequence, with a brisk Bertha skipping into Till the Morning Comes. Bertha is clean, crisp quality. Till the Morning Comes needed some more rehearsal, but if they didn’t hammer it during soundcheck, you can’t blame them - they were tired. This was their 6th show and 6th venue in as many days. Vocally, it’s a group song with no lead singer. Bob doesn’t quite grasp the lyrical shifts, which causes a couple of speed bumps. Still, the pace and rarity of the song make it a delightful listen, and Kreutzmann has some fun with the beat. Warren smears Little Red Rooster with smoky, Allman Brothers-style slide, and Phil and the Drummers lay the blues on thick, making for one of the underrated highlights of the night. Row Jimmy is both mushy and gracefully balanced, with Jeff Chimenti really lighting up the second solo passage. Watchtower is the first real casualty of the night. It never lifts off, and they seem to blank out on how to end the song. Kreutzmann bails them out with a nifty wrap-up, and they recover with an easy, soothing Glory Road. West L.A. Fadeaway is too slow and unanimated for my liking, and doesn’t have the strut that made the song so popular in the 80’s. Phil and Bob wake everyone up and whip Cumberland Blues up into quite a whirl, with the clattering drummers and smoking lead guitar work from Haynes redeeming a choppy, slow set via Workingman’s Dead blazer. The crowd reacts in kind.
I like The Weight kicking off the second set. Warren’s guitar really sings, and the back-and-forth interaction with the crowd at the end is a lovely touch. Tomorrow Never Knows is the night’s clearest glimpse of old school Psychedelia, with elements of India and Beatlemania hovering above the swaying drums. Things take a dive in Black Peter and Greatest Story Ever Told. In both songs, Weir repeats a verse, and in Greatest Story, he can’t come up with the end of the song, so they just scramble and improvise, jam it on out, and escape into Drums. It’s a shame for Bobby, because he offers some pretty bright guitarwork in both Peter and Greatest Story. In a sign of the times, Drums features some Obama audio piped in. Bill and Mickey eat up 9 minutes, giving Bobby a quick break. The first half of Space is just Mickey’s beam and Bobby’s guitar melding into a far-out soundscape, and in the second half of the song Warren and Jeff step onstage to help Bob knit together what sounds like something out of side two of the Garcia album!
King’s Soloman’s Marbles is excellent. It’s not especially fast, but it’s gooey and cohesive, and the boys listen to and build off of each other’s ideas very well. They hit the complex changes with accuracy. Everyone’s on their game here. They owed the crowd after the disappointing Peter and GSET, and this sick Blues for Allah rarity does the trick and receives a hearty cheer. Viola Lee Blues has some real bite to it at first, then eases off. Samson is satisfactory, but doesn’t pack much of a punch. The Ripple encore is soft and tender, and the crowd seems to love it.
This is a very interesting show. There are a number of downright ugly lyrical blunders. It’s an intriguing setlist on paper; with deep cuts and a selection that spans the Grateful Dead’s 30-year repertoire. Songs are placed in very unusual spots, especially in the second set. At first you assume that this didn’t really work in favor of a band clearly dealing with road fatigue at the end of a 6-night run. It makes you wonder, if they’d gone with a more familiar and straightforward approach, with standard, easy-to-play songs placed in their usual slots, would it have been a higher quality show? China > Rider, Playin’, and He’s Gone would’ve been much easier to navigate pre-Drums. On the other hand, even though some tunes flop, The Dead really deliver on equally challenging pieces like Cumberland Blues, Tomorrow Never Knows, and King Soloman’s Marbles. These guys were in a corner, and I think the charm of this show is listening to them roll with the punches, soldier through, and land a few blows of their own. If you want gourmet, 5-star ‘09 Dead, try 4/14 or 5/10, but if you’re interested in a scuffed up performance of a one-of-a-kind setlist, this is worth the listen!
Subject: Hartford 09
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