Grateful Dead Live at Park West Ski Resort on 1987-08-20
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- Publication date
- 1987-08-20 ( check for other copies)
- Topics
- Soundboard, Charlie Miller
- Collection
- GratefulDead
- Band/Artist
- Grateful Dead
- Resource
- DeadLists Project
Set 1
Big Boss Man-> Promised Land, Dire Wolf, Minglewood Blues, Row Jimmy, It's All Over Now, Loser, Cassidy, When Push Comes To Shove
Set 2
China Cat Sunflower-> I Know You Rider, Women Are Smarter, Ship of Fools, Truckin'-> Smokestack Lightning-> Drums-> Jam-> The Wheel-> Gimme Some Lovin'-> All Along The Watchtower-> Stella Blue-> Sugar Magnolia, E: The Mighty Quinn
Big Boss Man-> Promised Land, Dire Wolf, Minglewood Blues, Row Jimmy, It's All Over Now, Loser, Cassidy, When Push Comes To Shove
Set 2
China Cat Sunflower-> I Know You Rider, Women Are Smarter, Ship of Fools, Truckin'-> Smokestack Lightning-> Drums-> Jam-> The Wheel-> Gimme Some Lovin'-> All Along The Watchtower-> Stella Blue-> Sugar Magnolia, E: The Mighty Quinn
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 Tuning | |||
02 The Addams Family | |||
03 Big Boss Man | |||
04 Promised Land | |||
05 Dire Wolf | |||
06 New Minglewood Blues | |||
07 Row Jimmy | |||
08 It's All Over Now | |||
09 Loser | |||
10 Cassidy | |||
11 When Push Comes To Shove | |||
12 Tuning | |||
13 China Cat Sunflower | |||
14 I Know You Rider | |||
15 Man Smart (Woman Smarter) | |||
16 Ship Of Fools | |||
17 Truckin' | |||
18 Smokestack Lightning | |||
19 Drums | |||
20 Space | |||
21 The Wheel | |||
22 Gimme Some Lovin' | |||
23 All Along The Watchtower | |||
24 Stella Blue | |||
25 Sugar Magnolia | |||
26 Encore Break | |||
27 The Mighty Quinn (Quinn The Eskimo) |
Notes
Notes:
-- Two sets of masters were used to make this show complete
-- This file set is 16 bit
- Access-restricted-item
- true
- Addeddate
- 2017-12-15 23:47:20
- Identifier
- gd1987-08-20.140236.UltraMatrix.sbd.cm.miller.flac1644
- Lineage
- Cassette Master (Nakamichi CR-7A) > Tascam DA-3000 (DSF 1-bit/5.8 MHz) >KORG AudioGate 4 > Samplitude Pro X3 Suite > FLAC/24
- Location
- Park City, UT
- Run time
- 163:23.40
- Transferred by
- Charlie Miller
- Type
- sound
- Venue
- Park West Ski Resort
- Year
- 1987
comment
Reviews
Reviewer:
Mind Wondrin
-
favoritefavoritefavoritefavoritefavorite -
June 29, 2022
Subject: At Parleys Park
This show has incredible playing, a sweet set list, and poor mixes. The bad mix [no Bobby guitar] was also over the PA, so AUDs are no fix. The playing is there, but this will never be the best tape and will likely stay a hidden gem (and a special find for the right trainspotters). The first set has a great sequence and the second is a meaty set, with six before D/S and six after, all at a high level. This was the last time they played a show above 6k feet.
After such a great show here in '83, I was excited to get out of sizzling AZ and to this show. I hadn't managed energy levels well on this tour and was conscious of none of the drive. But times had changed and it was packed compared to four years prior and rather than another afternoon show there were stage lights for after dark. The cool, untouched shakedown street from '83 was diluted and unmaterialized. The Touch Head phenomenon was forming during this tour, but this was the 1st show where I realized it was on and it was staying. I saw a taper friend (who would expediently hook me up) and then some tour friends who invited me down front, right up against the stage. This was one of only two times I went down front. It was not good. Touch Head idiots punched the crowd fencing over and stormed the gate. It quickly became a congested mess as they squeezed themselves into the crowd where Heads had spread blankets – now gone (contrary to some post-memory justification claims, Jer did not urge them to crash a fence and run over everybody). They also pushed and shoved down front and we were so squeezed we had to fight to lift our arms. Then our ears were right in front of Bobby's loud monitors, and that's all we could hear: no Jer, no Brent (though they were just yards away). Some people down front were not being cool – one a self-appointed marshal, whom I had met a few times, who was yelling at people to lock arms with him to prevent any more people from getting close, and telling people that if they went to the bathroom they were not allowed back. Sour mood down there! Leaving that area and rejoining friends in front of the board was night & day sound-wise and comfort-wise. Ironically, as loud as Bobby was while standing in front of him, he was turned down on the PA, so you couldn't hear him playing up in the crowd.
A very melty audience compared to others that summer, the PA was also louder than in previous weeks. During break I began chatting with one half of a same-sex couple, both at their first show. The other had been drug along and spent her time eye-rolling, arms crossed, dismissing & discounting. While she was gone, the friendlier person asked if I would help her dose. I nudged her a certain direction, explaining how easy it was. She was eyeing the bus, however shortly thereafter, after the second set began, she was drug away & home. Point being: I've always wondered what the rest of her night was like! This was one of the crazier shows, but one time that the tapes supported how good the show seemed in person. The second set was extremely affecting for me; one of those epiphany experiences where you laugh, you cry and you solve the universe. And also the last show I saw of this caliber.
First Set. After Hitchcock violins from Brent there is an Addams Family tuning (both cut from many circ copies). Big Boss Man is the second of the year, and trainwrecks at the end. Promised Land isn't much more cohesive, but they warm up during Dire Wolf. Exciting to see at the time, it had been a rarity (only 2 in '86 and 2 in '87, but only one of the last ten had been out west). The solo is great, and then the set is off and running with X factor (even if the mix frustrates). Minglewood Blues (mountain fillies/here in Utah) may even be better than 7/26 or 7/10. Though there is a brief problem with Bobby's slide, the nastiness works and makes Jer thrive. And check Phil, who is also a joy on Row Jimmy. The beginning of It's All Over Now is clipped on SBDs, and Bobby's guitar is heard best on the in-house FM source. Excellent version. Loser is aced and Cassidy is also one of the year's best (caveat: there's some feedback during the jam). Listen to Brent on Push Comes to Shove. Doesn't he sound like Keith here?
Second Set. Phil intros with Whole Lotta Love, setting some sort of magic mojo for the set and launching a beautiful edition of China Cat. Unfortunately Bobby is turned down, but if you can hang with the mix, Brent is at his peak and Jer's guitar work in this set has moments of incredulity. I Know You Rider is a must-hear. Even if Dewiminna isn't 8/12 or 10/2, it's STILL one of the best of the year. Healey relaxes his vendetta, eventually adding Bobby to the mix. Ship of Fools has Jer owning the stage. One of two lesser points in the set, Bobby restarts the first verse of Truckin', which mostly recovers, into a fine Smokestack Lightning. The latter hadn't been played since the NYE run in Dec. Drums was intense for an outdoor show, with lots of gear – don't skip. [The fours songs after Space were the most rapt I ever saw a Dead audience. Though it's a personal note and can't be heard on tape, this was the most powerful group vibe and band-interaction vibe I ever witnessed]. Phil is again great on a powerhouse The Wheel, into a solid Gimme Some Lovin'. Watchtower is the fifth one, and is surpassed this year only by 9/18. The profound experience I had during Stella Blue as Jer, bathed in blue light, held thousands in his hand, makes me a poor candidate for objectivity. But Utah heads speak of this sequence/set with reverence and I'm with them. Stella is equal to 10/3. Bobby is worn down to monotone shouting on Sugar Mag, and its time for a break. But the Quinn encore is just right.
1st Set: B
2nd Set: A
Overall = 4½ stars HG
Highlights:
New Minglewood Blues – Jer thrives/check Phil
It's All Over Now – great version, mix aside
Loser – draws aces
Cassidy – one of year's best
Second Set – whole set, high-level Brent era
SOURCES: The 140236_UltraMatrix is the original SBD at its clearest. Like other SBDs, it needs -1% pitch correction for the second set. The 151080_fm is a capture of in-house FM, and is compressed and less dynamic (compressors/limiters are often added to FM signals), but it has a better mix in a couple places.
Subject: At Parleys Park
This show has incredible playing, a sweet set list, and poor mixes. The bad mix [no Bobby guitar] was also over the PA, so AUDs are no fix. The playing is there, but this will never be the best tape and will likely stay a hidden gem (and a special find for the right trainspotters). The first set has a great sequence and the second is a meaty set, with six before D/S and six after, all at a high level. This was the last time they played a show above 6k feet.
After such a great show here in '83, I was excited to get out of sizzling AZ and to this show. I hadn't managed energy levels well on this tour and was conscious of none of the drive. But times had changed and it was packed compared to four years prior and rather than another afternoon show there were stage lights for after dark. The cool, untouched shakedown street from '83 was diluted and unmaterialized. The Touch Head phenomenon was forming during this tour, but this was the 1st show where I realized it was on and it was staying. I saw a taper friend (who would expediently hook me up) and then some tour friends who invited me down front, right up against the stage. This was one of only two times I went down front. It was not good. Touch Head idiots punched the crowd fencing over and stormed the gate. It quickly became a congested mess as they squeezed themselves into the crowd where Heads had spread blankets – now gone (contrary to some post-memory justification claims, Jer did not urge them to crash a fence and run over everybody). They also pushed and shoved down front and we were so squeezed we had to fight to lift our arms. Then our ears were right in front of Bobby's loud monitors, and that's all we could hear: no Jer, no Brent (though they were just yards away). Some people down front were not being cool – one a self-appointed marshal, whom I had met a few times, who was yelling at people to lock arms with him to prevent any more people from getting close, and telling people that if they went to the bathroom they were not allowed back. Sour mood down there! Leaving that area and rejoining friends in front of the board was night & day sound-wise and comfort-wise. Ironically, as loud as Bobby was while standing in front of him, he was turned down on the PA, so you couldn't hear him playing up in the crowd.
A very melty audience compared to others that summer, the PA was also louder than in previous weeks. During break I began chatting with one half of a same-sex couple, both at their first show. The other had been drug along and spent her time eye-rolling, arms crossed, dismissing & discounting. While she was gone, the friendlier person asked if I would help her dose. I nudged her a certain direction, explaining how easy it was. She was eyeing the bus, however shortly thereafter, after the second set began, she was drug away & home. Point being: I've always wondered what the rest of her night was like! This was one of the crazier shows, but one time that the tapes supported how good the show seemed in person. The second set was extremely affecting for me; one of those epiphany experiences where you laugh, you cry and you solve the universe. And also the last show I saw of this caliber.
First Set. After Hitchcock violins from Brent there is an Addams Family tuning (both cut from many circ copies). Big Boss Man is the second of the year, and trainwrecks at the end. Promised Land isn't much more cohesive, but they warm up during Dire Wolf. Exciting to see at the time, it had been a rarity (only 2 in '86 and 2 in '87, but only one of the last ten had been out west). The solo is great, and then the set is off and running with X factor (even if the mix frustrates). Minglewood Blues (mountain fillies/here in Utah) may even be better than 7/26 or 7/10. Though there is a brief problem with Bobby's slide, the nastiness works and makes Jer thrive. And check Phil, who is also a joy on Row Jimmy. The beginning of It's All Over Now is clipped on SBDs, and Bobby's guitar is heard best on the in-house FM source. Excellent version. Loser is aced and Cassidy is also one of the year's best (caveat: there's some feedback during the jam). Listen to Brent on Push Comes to Shove. Doesn't he sound like Keith here?
Second Set. Phil intros with Whole Lotta Love, setting some sort of magic mojo for the set and launching a beautiful edition of China Cat. Unfortunately Bobby is turned down, but if you can hang with the mix, Brent is at his peak and Jer's guitar work in this set has moments of incredulity. I Know You Rider is a must-hear. Even if Dewiminna isn't 8/12 or 10/2, it's STILL one of the best of the year. Healey relaxes his vendetta, eventually adding Bobby to the mix. Ship of Fools has Jer owning the stage. One of two lesser points in the set, Bobby restarts the first verse of Truckin', which mostly recovers, into a fine Smokestack Lightning. The latter hadn't been played since the NYE run in Dec. Drums was intense for an outdoor show, with lots of gear – don't skip. [The fours songs after Space were the most rapt I ever saw a Dead audience. Though it's a personal note and can't be heard on tape, this was the most powerful group vibe and band-interaction vibe I ever witnessed]. Phil is again great on a powerhouse The Wheel, into a solid Gimme Some Lovin'. Watchtower is the fifth one, and is surpassed this year only by 9/18. The profound experience I had during Stella Blue as Jer, bathed in blue light, held thousands in his hand, makes me a poor candidate for objectivity. But Utah heads speak of this sequence/set with reverence and I'm with them. Stella is equal to 10/3. Bobby is worn down to monotone shouting on Sugar Mag, and its time for a break. But the Quinn encore is just right.
1st Set: B
2nd Set: A
Overall = 4½ stars HG
Highlights:
New Minglewood Blues – Jer thrives/check Phil
It's All Over Now – great version, mix aside
Loser – draws aces
Cassidy – one of year's best
Second Set – whole set, high-level Brent era
SOURCES: The 140236_UltraMatrix is the original SBD at its clearest. Like other SBDs, it needs -1% pitch correction for the second set. The 151080_fm is a capture of in-house FM, and is compressed and less dynamic (compressors/limiters are often added to FM signals), but it has a better mix in a couple places.
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