![]() Harbingers of future Grateful Dead studio work dotted the setlists from San Francisco in the form of "Loose Lucy " and "China Doll, " eventually on 1974's. In the interim since 1971 as well, titular leader Jerry Garcia's eponymous solo effort had proved to be a reliable source of songs including "To Lay Me Down." They could draw on the material from the aforementioned albums, not the least of which proved to be "Sugar Magnolia" and "Truckin,'" plus the new originals contained within the live album Europe '72 including "Jack Straw" and "Tennessee Jed." The band had debuted their own record label that very autumn with Wake of the Flood (1973), prior to which rhythm guitarist/vocalist Bob Weir had produced and released his solo album Ace (1972), where he used the Dead as his accompaniment, most of which collaborations with lyricist John Barlow, like "Black-Throated Wind," became future setlist staples. It might be said the Dead were suffering an embarrassment of riches when they came to Winterland in November of 1973. These personnel shifts correlated with a marked shift in the band's approach to composing and recording earlier in the decade, wherein structure took precedence over open-ended improvisation for the studio work that produced Workingman's Dead (1970) and American Beauty (1970). Founding member Ron "Pigpen" McKernan had passed away early in the year, at a point keyboardist Keith Godchaux had become firmly ensconced within the grouplisten to his aggressive comping during the 11/10 "Weather Report Suite"as had his wife Donna Jean in bolstering the group's singing (as on "Looks Like Rain" from the same night). By this time, Bill Kreutzmann had been manning the drums alone for almost two years, following the abrupt departure of Hart. The Grateful Dead circa 1973 extended the progression. The three nights in February at promoter Bill Grahams' famous venue, recorded with the most sophisticated equipment the Dead, via benefactor Owsley Stanley and crew, could provide, were expressly intended to showcase the means by which the Dead had incorporated new material like "China Cat Sunflower" into their setlists alongside roots material like "I'm a Kingbee," as they strove to dovetail tunes for maximum musical logic and impact on the audience. Stephen," "The Eleven"), which in turn deliberately stretched their collective instincts as a performing unit. As the band then forged a relationship with lyricist Robert Hunter, they began their first forays into original compositions ("St. ![]() In 1967 the group had added Mickey Hart as a second drummer percussionist as well as Tom Constanten as an additional keyboardist. In fact, each set on its own might well be designed to illustrate the Dead's evolution as a band, as performers and as songwriters.įillmore West 1969 marks the culmination of an intensely creative period for the Dead. ![]() This new box makes an ideal companion piece precisely because the changes it documents so closely mirror those in play earlier. The first such title actually appeared in 2005 in the form of Fillmore West 1969 The Complete Recordings. In a logical extension from the Dick's Picks series, which focused on complete shows, and in contrast to the recently-inaugurated Road Trips series, which collates highlights from a particular tour of note, the Dead's archivists will now concentrate on extended runs of shows, a progression that mirrors that of the group's fanbase over the years. The release of this nine-disc box (plus full-length bonus disc) institutes a new thrust in the archiving of Grateful Dead recordings. The Grateful Dead's Winterland 1973 - The Complete Recordings appears a little over two years after its original release was aborted a few months prior to the band's business affiliation with Rhino Records was made official. Winterland 1973 - The Complete Recordings
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