Grateful Dead Live at Civic Arena on 1987-07-06
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- Publication date
- 1987-07-06 ( check for other copies)
- Topics
- Audience, Ted Mattes, Charlie Miller, Scott Clugston
- Collection
- GratefulDead
- Band/Artist
- Grateful Dead
- Resource
- DeadLists Project
Franklin's Tower
New Minglewood Blues
Row Jimmy
Mama Tried >
Big River
Far From Me
Stagger Lee
Desolation Row >
Don't Ease Me In
Samson & Delilah
Iko Iko > *
Banana Boat Song (Day-O) > *
Man Smart (Woman Smarter) > *
Drums > #
Space >
Knockin' On Heaven's Door >
Good Lovin'
Johnny B. Goode *
Bob Weir - Guitar
Brent Mydland - Keyboards
Phil Lesh - Bass
Bill Kreutzmann - Drums
Mickey Hart - Drums
Art Neville - Hammond B3 *
Aaron Neville - Cow Bell *
Charles Neville - Tamourine *
Brian Stoltz - Guitar *
William Green - Drums * #
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 |
---|---|---|---|
Crowd | |||
Feel Like A Stranger > | |||
Franklin's Tower | |||
New MInglewood Blues | |||
Mama Tried > | |||
Big River | |||
Far From Me | |||
Desolation Row > | |||
Don't Ease Me In | |||
Crowd | |||
Shakedown Street > | |||
Samson & Delilah | |||
Iko Iko > | |||
Banana Boat Song (Day O) > | |||
Man Smart (Woman Smarter) > | |||
Drums > | |||
Space > | |||
Knockin' On Heavens Door > | |||
Good Lovin' | |||
E: Johnny B. Goode |
Notes
Notes:
- Thanks to Ted Mattes for the master cassettes
- Thanks to Charlie Miller for the transfer and coordinating this effort
- Thanks to the Oade's for the Schoeps CMC3 MK41 source which supplies a 0:13 patch in "Space"
- "Iko Iko > Banana Boat Song (Day O) > Man Smart (Woman Smarter)", "Knockin' On Heavens Door > Good Lovin'" and "Johnny B. Goode" with The Neville Brothers
- Pitch corrected
Mastered by Scott Clugston
December 2019
- Addeddate
- 2020-02-29 20:31:58
- Identifier
- gd1987-07-06.148854.senn441.mattes.miller.clugston.flac1648
- Lineage
- Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.6 MHz)> dBpoweramp (24/96) > Adobe Audition CC 2019 > TLH flac2496
- Location
- Pittsburgh, PA
- Scanner
- Internet Archive HTML5 Uploader 1.6.4
- Taped by
- Ted Mattes
- Transferred by
- Scott Clugston and Charlie Miller
- Type
- sound
- Venue
- Civic Arena
- Year
- 1987
comment
Reviews
Subject: great recording/covers night but good show
It’s great to have these recently added HQ FOB and otherwise auds and new sod/matrix sources from this tour. For years, the Alpine shows were a mystery to those who couldn’t attend because but this aud is a vast improvement over previous ones that were available for this unique Grateful Dead show in what I guess I didn’t realize til later was an indoor stadium. Did it have a retractable roof? I think so but it didn’t retract the nights I went in ’89. Locals recoiled in horror from the sight of deadheads the next morning at breakfast but that’s another show, another tour.
This show is from the heart of 87, a most optimistic year centered around the theme of communal surviving and resurrection. We didn’t get the dramatic irony til later and in ’87, even Black Peter could sound triumphant over death. After the challenging, unfamiliar (and probably barely rehearsed or planned) set with Dylan in Foxboro (after their own utterly forgettable and rushed mini-show in the first set), the Dead are in Pittsburgh on their own and able to relax and play on their own terms. The first set is chill and expansive with the always special Franklin’s Tower emerging out of Stranger. Minglewood and Row Jimmy demonstrate the commitment to a relaxed pace after the big city rush of the media spotlight on 7/4. Big River is one of those versions that just locks right in to the swinging beat and compels you (maybe just me?) to bang on something, which the family must love. Another strong 87 Desolation Row and average Don’t Ease end a set that’s generous but not as much so as the ones earlier in the week up near and across the border.
Second set opens very strongly with a brisk yet fully explored Shakedown Street that jams out way more than one would expect in 1987. It’s much better than the highly overrated one at MSG in September (I was at that one and had reason to celebrate too, having scored a miracle ticket and a free ticket to ride outside on 7th Avenue) and could be compared to one of the other all-time greats, (6/3085) in it’s use of the keyboard to drive the tonal development of the jam and a similar rave-up. Similarly, it goes into Samson which rocks but seems to kind of have that distracted quality that plagued the whole Foxboro set. Sure enough, the Neville Brothers come out and (apparently) loudly plug in a guitar which eventually rises in the mix. I always wondered why rock artists even as iconoclastic as the Dead resort to that weird, stilted and phony stage talk when introducing people who join them on stage, (“Mr. Robert Plant!” Or the needlessly coy “we’d like to bring out a few friends of ours” as if it’s casual which, you can probably bet to some extent in the GD world it surely is. Still they use this goofy showbiz talk. )
Count me as a non-fan of guests showing up on the stage at GD shows unless it’s that one time Don Henley walked on, said nothing and walked off during a Sting opener. It usually means there’s going to be some difficult to hear but nevertheless sonically out of place electric guitar played or an overly long Aiko that transitions into other songs that sound like Aiko. The latter is, or course the case here but it’s cool when the Nevilles take over the front line vocals for a little while. What you really don’t want though is Women are Smarter being rolled out as the transition into Drums because it’s simple and similar. Well, you want a St. Stephen into Drums but in 1987, you’re realistic enough to know you’re not going to get it. Greed is good in 87, not unreasonable set requests. I did wonder at the time if deadheads who went to Pittsburgh to just see a GD show and avoid the Dylan part would have been disappointed in the special guest popping in for the heart of the second set. I am glad there were none at Silver Stadium, personally.
Damn Women are Smarter indeed, is next. It’s fast and seems to have lots of extra percussion and the Neville guitar player doing a twanging counter rhythm with Bobby and later a willowy lead that turned heads among guest-hating deadheads like me at the time. Brian Stoltz. There was a picture in one of the magazines of Jerry bestowing on him a big big smile, not sure if it was at this show or later at New Years. Anyway, Drums and Space are longer and more intricate than others of the era and the breakout of Knocking’ on Heaven’s Door, while shaky at times, is grandiose. The flawless Aaron Neville backup vocal makes you wish they’d backed him at least once like they did Etta James. Bobby shows up who’s boss with a cookie’ Good Lovin with some A.N. falsetto backups that add little. It’s covers night, basically but a unique show in the scheme of things. It rarely got this loose again.
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