Dead & Company Live at Oracle Park, San Francisco CA on 2023-07-15
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- Publication date
- 2023-07-15 ( check for other copies)
- Topics
- Dead & co, Bob Weir, John Mayer, Oteil Burbridge, Jeff Chementi, Jay Lane, Mickey Hart, John Skeels, Alice Colby, Oracle Park, San Francisco, Sound Professionals, SP-CMC-8, Zoom Handy H6, RasBobre Recordings
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- DeadAndCompany
- Band/Artist
- Dead & Company
Dead & Company
"The Final Tour"
Oracle Park
San Francisco, CA
15-JULY-2023
Recorded By: RasBobre
https://www.facebook.com/rasbobrerecordings
https://archive.org/details/@rasbobre
Mic Location: Floor, 15' In Front Of SBD/DFC (Stealth) > Sound Professionals/ Audio Technica SP-CMC-8 (cardioid) > Zoom Handy H6 > Audacity
**24bit, not intended for CD Burning**
https://www.facebook.com/rasbobrerecordings
https://archive.org/details/@rasbobre
Mic Location: Floor, 15' In Front Of SBD/DFC (Stealth) > Sound Professionals/ Audio Technica SP-CMC-8 (cardioid) > Zoom Handy H6 > Audacity
**24bit, not intended for CD Burning**
Set List;
01 - Let The Good Times Roll @
02 - Hell In A Bucket
03 - It Hurts Me Too #
04 - Jack Straw
05 - Big Railroad Blues $
06 - Cassidy &
07 - They Love Each Other ^
08 - Turn On Your Lovelight *
09 - Deal ^
10 - Playing In The Band &
11 - The Other One (V1)
12 - Terrapin Station
13 - Drums
14 - Space
15 - Uncle John's Band
16 - Playing In The Band (Reprise) &
17 - The Other One (V2)
18 - Morning Dew +
E:
19 - Ripple
@ - Sam Cooke
# - Tampa Red
$ - Cannon's Jug Stompers
^ - Jerry Garcia
& - Bob Weir
* - Bobby "Blue" Bland
+ - Bonnie Dobson
(All other songs; Grateful Dead)
About Dead & Company;
Over the past nearly 36 years, I’ve seen the Grateful Dead and its various offshoots in concert more than 70 times. For seven years, beginning in the fall of 1987 at The Spectrum in Philadelphia, I journeyed up and down the East Coast from the Capital Centre in Landover, Maryland, to Madison Square Garden in New York City and Nassau Coliseum on Long Island. I’ve since seen them play in Chicago, Michigan, Pittsburgh, Dallas, Philadelphia, Los Angeles, San Jose, and even Mexico.
This weekend I’ll be joining more than 100,000 others in San Francisco for the final three shows of the final tour of the band’s most recent iteration, Dead & Company.
To the non-Deadheads among you, this three-decade-long devotion is likely difficult to fathom. How can a band formed when Lyndon Johnson sat in the Oval Office still captivate so many music fans, across generational, demographic and political divides?
A 2015 poll found that Republicans were just as likely as Democrats to count themselves as Deadheads.
Every Dead fan has their own answer, of course. But what keeps me coming back is summed up best by the Dead’s late guitarist, Jerry Garcia: “Maybe we’re just one of the last adventures in America.”
The most important word in that quote, of course, is “adventure.” Garcia’s personal journey tragically ended in 1995 when he died of a heart attack at just 53. But even though Garcia held such a rarefied space in the imagination of Deadheads (and his fellow bandmates), the desire for adventure could not be so easily quashed.
For some, it transferred to the other jam bands, like Phish, that sought to capture the Dead’s musical aesthetic. For others, it was the series of Dead spin-offs with former band members — Furthur, Other Ones, Phil and Friends, and The Dead. Some like me couldn’t imagine seeing a Dead show without Garcia, until I was dragged back to see their 50th-anniversary shows in Chicago, and I forgot what I had been missing.
The spirit of adventure rekindled, I’ve traveled nearly three dozen times over the past eight years to see Dead & Company. For most of its shows, this band has featured three of the Dead’s former members: rhythm guitarist and lead singer Bob Weir, and drummers Mickey Hart and Bill Kreutzman (the latter is sitting out the current tour). They’ve been joined by pop heartthrob and lead guitarist John Mayer, which made little sense to long-time Dead fans until they listened to him play in a style that both honored Garcia’s distinct musical voice and expanded upon it.
That Mayer, who is trained in the blues and produces easily digestible pop music, fit so seamlessly into Garcia’s role speaks volumes about his talents, but also the Dead’s quintessentially American sound. The band has, since its earliest days, weaved together varied and seemingly discordant elements of American popular music: folk, rock, country, the blues, rockabilly, psychedelia, bluegrass, jazz, and even disco and funk have all been part of the Dead’s canon.
And their long, improvisational jams explored the musical possibilities inside even the most basic three chord songs (and for better or worse, created an entire musical genre: the jam band). Few other bands could take a classic tune like Buddy Holly’s “Not Fade Away,” the traditional folk song “I Know You Rider” or the Motown number “Dancin’ In the Street” and turn them into musical explorations. Their influence on two generations of musicians — from Bob Dylan and Elvis Costello to the National and Dawes — is too vast to calculate.
The band’s lyrics always spoke to a particular strain of American individualism — cowboys, mystics, toiling workers, reprobates, gamblers, loners, lovers, drunks, and, of course, railroad drivers were all at the core of the band’s songs. But they were also firmly planted in a particular element of American mythology: freedom, exploration, and the search for identity and discovery. As Garcia once said, the key thing in life is “the pursuit of happiness. That’s the basic, ultimate freedom.”
What’s more American than that?
Within the past year, the band not only won its first Grammy, but saw its best week of record sales since the 1980s.
It’s why for me, the greatest lyric in the Dead canon comes from “Truckin’” and it’s not “what a long strange trip it’s been.” Rather, it is “together, more or less in line.” No six words come close to capturing the ad hoc, make-it-up-as-we-go, live in the moment, yet still communal ethos of the band and its fans.
And while the Dead emerged out of the 60’s hippie counterculture, politics and social activism was never really their bag. The Dead were primarily about joy.
By allowing their audience to tape their concerts for free, they redefined the relationship between artists and fans, creating a community of followers that bypassed gender, generational divides and even political orientation. Indeed, for all of the Dead’s aforementioned hippie, counterculture past, a 2015 poll found that Republicans were just as likely as Democrats to count themselves as Deadheads. And within the past year, the band not only won its first Grammy, but saw its best week of record sales since the 1980s.
Their constant touring — and selling mail-order tickets directly to fans — created loyalty unlike any other in the history of popular music. When the Dead finally had their first top 10 single, “Touch of Grey” in 1987, they soon became one of the country’s highest grossing musical acts (and also the best sounding, because decades on the road helped them figure out how to produce the most compelling possible sound from cavernous outdoor musical venues).
And their followers were as entrepreneurial as the band, selling band merchandise, artwork, the world’s best-grilled cheese sandwiches and “other products” at their shows. To walk outside a Dead & Company show in 2023 is to see dozens, if not hundreds, of vendors selling Dead-related products at the affectionately named “Shakedown Street” (the band’s brief foray into disco and one of their funkiest jams).
The scene and the feeling of community are for many fans what ties them to the Dead and the jamband subculture that the band helped launch. At a recent congressional hearing, Democratic Rep. Wiley Nickel of North Carolina, 47, asked Federal Reserve Chairman Jerome Powell, a Donald Trump appointee, about his attendance at a June Dead & Company show in Virginia. Powell, 70, happily admitted to being a fan of the Dead for more than 50 years, to which Nickel responded that he has found one universal truth about the band and its fans: “I like people who like the Grateful Dead.”
I couldn’t agree more. Even if I traveled solo to a show I always knew that I could find at least one kindred soul. But for me at least musical adventure has always been at the core of the Dead’s appeal.
It would be a stretch to argue that the Dead always put on a great concert. When you play 2,300 concerts over 30 years you are going to have a few off nights. In the 90s, when I predominantly saw them, there were as many bad shows as good ones. But you never quite knew what you were going to get — and that’s made it unique and special. (msnbc.com)
This weekend I’ll be joining more than 100,000 others in San Francisco for the final three shows of the final tour of the band’s most recent iteration, Dead & Company.
To the non-Deadheads among you, this three-decade-long devotion is likely difficult to fathom. How can a band formed when Lyndon Johnson sat in the Oval Office still captivate so many music fans, across generational, demographic and political divides?
A 2015 poll found that Republicans were just as likely as Democrats to count themselves as Deadheads.
Every Dead fan has their own answer, of course. But what keeps me coming back is summed up best by the Dead’s late guitarist, Jerry Garcia: “Maybe we’re just one of the last adventures in America.”
The most important word in that quote, of course, is “adventure.” Garcia’s personal journey tragically ended in 1995 when he died of a heart attack at just 53. But even though Garcia held such a rarefied space in the imagination of Deadheads (and his fellow bandmates), the desire for adventure could not be so easily quashed.
For some, it transferred to the other jam bands, like Phish, that sought to capture the Dead’s musical aesthetic. For others, it was the series of Dead spin-offs with former band members — Furthur, Other Ones, Phil and Friends, and The Dead. Some like me couldn’t imagine seeing a Dead show without Garcia, until I was dragged back to see their 50th-anniversary shows in Chicago, and I forgot what I had been missing.
The spirit of adventure rekindled, I’ve traveled nearly three dozen times over the past eight years to see Dead & Company. For most of its shows, this band has featured three of the Dead’s former members: rhythm guitarist and lead singer Bob Weir, and drummers Mickey Hart and Bill Kreutzman (the latter is sitting out the current tour). They’ve been joined by pop heartthrob and lead guitarist John Mayer, which made little sense to long-time Dead fans until they listened to him play in a style that both honored Garcia’s distinct musical voice and expanded upon it.
That Mayer, who is trained in the blues and produces easily digestible pop music, fit so seamlessly into Garcia’s role speaks volumes about his talents, but also the Dead’s quintessentially American sound. The band has, since its earliest days, weaved together varied and seemingly discordant elements of American popular music: folk, rock, country, the blues, rockabilly, psychedelia, bluegrass, jazz, and even disco and funk have all been part of the Dead’s canon.
And their long, improvisational jams explored the musical possibilities inside even the most basic three chord songs (and for better or worse, created an entire musical genre: the jam band). Few other bands could take a classic tune like Buddy Holly’s “Not Fade Away,” the traditional folk song “I Know You Rider” or the Motown number “Dancin’ In the Street” and turn them into musical explorations. Their influence on two generations of musicians — from Bob Dylan and Elvis Costello to the National and Dawes — is too vast to calculate.
The band’s lyrics always spoke to a particular strain of American individualism — cowboys, mystics, toiling workers, reprobates, gamblers, loners, lovers, drunks, and, of course, railroad drivers were all at the core of the band’s songs. But they were also firmly planted in a particular element of American mythology: freedom, exploration, and the search for identity and discovery. As Garcia once said, the key thing in life is “the pursuit of happiness. That’s the basic, ultimate freedom.”
What’s more American than that?
Within the past year, the band not only won its first Grammy, but saw its best week of record sales since the 1980s.
It’s why for me, the greatest lyric in the Dead canon comes from “Truckin’” and it’s not “what a long strange trip it’s been.” Rather, it is “together, more or less in line.” No six words come close to capturing the ad hoc, make-it-up-as-we-go, live in the moment, yet still communal ethos of the band and its fans.
And while the Dead emerged out of the 60’s hippie counterculture, politics and social activism was never really their bag. The Dead were primarily about joy.
By allowing their audience to tape their concerts for free, they redefined the relationship between artists and fans, creating a community of followers that bypassed gender, generational divides and even political orientation. Indeed, for all of the Dead’s aforementioned hippie, counterculture past, a 2015 poll found that Republicans were just as likely as Democrats to count themselves as Deadheads. And within the past year, the band not only won its first Grammy, but saw its best week of record sales since the 1980s.
Their constant touring — and selling mail-order tickets directly to fans — created loyalty unlike any other in the history of popular music. When the Dead finally had their first top 10 single, “Touch of Grey” in 1987, they soon became one of the country’s highest grossing musical acts (and also the best sounding, because decades on the road helped them figure out how to produce the most compelling possible sound from cavernous outdoor musical venues).
And their followers were as entrepreneurial as the band, selling band merchandise, artwork, the world’s best-grilled cheese sandwiches and “other products” at their shows. To walk outside a Dead & Company show in 2023 is to see dozens, if not hundreds, of vendors selling Dead-related products at the affectionately named “Shakedown Street” (the band’s brief foray into disco and one of their funkiest jams).
The scene and the feeling of community are for many fans what ties them to the Dead and the jamband subculture that the band helped launch. At a recent congressional hearing, Democratic Rep. Wiley Nickel of North Carolina, 47, asked Federal Reserve Chairman Jerome Powell, a Donald Trump appointee, about his attendance at a June Dead & Company show in Virginia. Powell, 70, happily admitted to being a fan of the Dead for more than 50 years, to which Nickel responded that he has found one universal truth about the band and its fans: “I like people who like the Grateful Dead.”
I couldn’t agree more. Even if I traveled solo to a show I always knew that I could find at least one kindred soul. But for me at least musical adventure has always been at the core of the Dead’s appeal.
It would be a stretch to argue that the Dead always put on a great concert. When you play 2,300 concerts over 30 years you are going to have a few off nights. In the 90s, when I predominantly saw them, there were as many bad shows as good ones. But you never quite knew what you were going to get — and that’s made it unique and special. (msnbc.com)
Dead & Company are;
Bob Weir - Guitar & Vocals
John Mayer - Guitar & Vocals
Oteil Burbridge - Bass, Drums & Vocals
Jeff Chementi - Keyboard
Jay Lane - Drums
Mickey Hart - Drums
Please support musicians that are open to having their live shows
recorded and shared by attending their performances and purchasing
officially released recordings and other merchandise.
https://deadandcompany.com/
https://www.nugs.net/search/?q=dead+company
https://www.facebook.com/DeadandCompany/
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 |
---|---|---|---|
01 - Let The Good Times Roll | |||
02 - Hell In A Bucket | |||
03 - It Hurts Me Too | |||
04 - Jack Straw | |||
05 - Big Railroad Blues | |||
06 - Cassidy | |||
07 - They Love Each Other > | |||
08 - Turn On Your Lovelight | |||
09 - Deal | |||
10 - Playing In The Band | |||
11 - The Other One (V1) | |||
12 - Terrapin Station > | |||
13 - Drums | |||
14 - Space | |||
15 - Uncle John's Band | |||
16 - Playing In The Band (Reprise) | |||
17 - The Other One (V2) | |||
18 - Morning Dew | |||
19 - Ripple |
- Addeddate
- 2023-07-18 03:29:02
- Identifier
- deadco2023-07-15.rasbobre
- Location
- San Francisco, CA
- Scanner
- Internet Archive HTML5 Uploader 1.7.0
- Taped by
- RasBobre
- Type
- sound
- Year
- 2023
comment
Reviews
Reviewer:
tkspitzer
-
favoritefavoritefavoritefavorite -
September 9, 2023
Subject: I think it's somewhere in the middle
Subject: I think it's somewhere in the middle
As to a cover bands on every town, there's going to be a PigPen tribute at a bowling alley in Hopkins MN soon! I learned of this venue at a Jerry Day event in Minneapolis.
Back to the music, just played the first set. Only made it to one show this summer, at Wrigley. Stadiums are not my thing, and we were stuck behind cigarette smokers on a night when the air quality in the Midwest was already poor .
The band may be at their best. Real chemistry between Mayer, Chimenti, and Burbridge. Mayer really takes over his songs and plays them at the proper tempo, yay! With that, Weir singing his songs slowly works ok. I mean, slowest lovely ever, right? But it works, it sounds like the voice of experience. Bird Song JM was great.
The GD played love each other for us when we got married in 83. Longer story there, but we're still and it's one of "our songs". Nice pairing with love light.
Great sound quality. Thanks
Back to the music, just played the first set. Only made it to one show this summer, at Wrigley. Stadiums are not my thing, and we were stuck behind cigarette smokers on a night when the air quality in the Midwest was already poor .
The band may be at their best. Real chemistry between Mayer, Chimenti, and Burbridge. Mayer really takes over his songs and plays them at the proper tempo, yay! With that, Weir singing his songs slowly works ok. I mean, slowest lovely ever, right? But it works, it sounds like the voice of experience. Bird Song JM was great.
The GD played love each other for us when we got married in 83. Longer story there, but we're still and it's one of "our songs". Nice pairing with love light.
Great sound quality. Thanks
Reviewer:
NOSIMPLEHIGHWAYMAN
-
favoritefavoritefavoritefavoritefavorite -
July 23, 2023
Subject: perhaps the best recording of this show?
Subject: perhaps the best recording of this show?
Well, this newest version of the July 15th show may just be an 'almost perfect' one. I haven't listened to many songs yet, but from the clarity and tone of this version of 'It Hurts Me Too', it sounds likely to be a winner. Listen to some of the songs on this one...I'm sure that most of you would have to agree.
Apparently the next person who wrote a review (now below mine) did not feel that he had to agree. In fact, he believes that my praise of this show was not quite realistic. I can assure him that my opinion was honest, I am not gaining any benefits for doing these reviews, and neither am I a robot.
I loved Jerry and at the Grateful Dead for many years. They slowly lost their magic near the end, and then they were gone. Since then, I believe that Dead & Co, were the best version of a band continuing the Grateful Dead's work. And this year's performances, for myself, showed that they have improved greatly: they no longer follow the sound of the Grateful Dead, Mayer no longer attempts to play like Jerry, they have their own sound now! Some may not like it because its not the same. But I do. Many others do, too. We are not pretending to like it.
Apparently the next person who wrote a review (now below mine) did not feel that he had to agree. In fact, he believes that my praise of this show was not quite realistic. I can assure him that my opinion was honest, I am not gaining any benefits for doing these reviews, and neither am I a robot.
I loved Jerry and at the Grateful Dead for many years. They slowly lost their magic near the end, and then they were gone. Since then, I believe that Dead & Co, were the best version of a band continuing the Grateful Dead's work. And this year's performances, for myself, showed that they have improved greatly: they no longer follow the sound of the Grateful Dead, Mayer no longer attempts to play like Jerry, they have their own sound now! Some may not like it because its not the same. But I do. Many others do, too. We are not pretending to like it.
Reviewer:
princeton-g
-
favoritefavoritefavorite -
July 18, 2023
Subject: uh OK
Subject: uh OK
This "About Dead & CO" reads suspiciously like a new Chat-GP generated speel, i.e. "Write me an article that pretends Dead and Co are really good, and that John Mayer is a perfect fit."
The money grab on this "final" tour [tix and stream content] was an embarrassment, Kind of glad this is finally over. It was always about Jerry, when it wasn't, it never was. There is a dead cover band playing somewhere in any state on any given night, that probably plays as good a show as whatever this was. Not trying to hate, but just saying, as there appears to be no realistic reviews of these guys anywhere. everything is peaches and cream, when we all know, its not very fresh tasting
The money grab on this "final" tour [tix and stream content] was an embarrassment, Kind of glad this is finally over. It was always about Jerry, when it wasn't, it never was. There is a dead cover band playing somewhere in any state on any given night, that probably plays as good a show as whatever this was. Not trying to hate, but just saying, as there appears to be no realistic reviews of these guys anywhere. everything is peaches and cream, when we all know, its not very fresh tasting
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