Grateful Dead / Three From the Vault [Live]
Artist Grateful Dead
Title Three From the Vault [Live]
Format 2CD
Released 2007
Label Rhino Records
Tracks
Three From the Vault [Live]
1. Two Ditties: the Merry-Go-Round Broke Down/Spring Song (1:19)
(Jerry Garcia, Robert Hunter/Cliff Friend/David Franklin/Felix Menelssohn/Warner Bros. Inc. ASCAP)
2. Truckin' (8:09)
(Jerry Garcia, Robert Hunter/Weir, Bob/Ice Nine Music ASCAP/Jerry Garcia/Phil Lesh/Robert Hunter)
3. Loser (6:23)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Jerry Garcia/Robert Hunter)
4. Cumberland Blues (4:58)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Jerry Garcia/Phil Lesh/Robert Hunter)
5. It Hurts Me Too (6:10)
(Jerry Garcia, Robert Hunter/Elmore James/Marshall Sehorn/Rhinelander Music Inc. BMI)
6. Bertha (5:21)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Jerry Garcia/Robert Hunter)
7. Playing in the Band (5:14)
(Jerry Garcia, Robert Hunter/Weir, Bob/Ice Nine Music ASCAP/Hart, Mickey/Robert Hunter)
8. Dark Hollow (3:15)
(Jerry Garcia, Robert Hunter/Bill Browning/Fort Knox Music BMI/Trio Music Co. BMI)
9. Smokestack Lightnin' (14:42)
(Jerry Garcia, Robert Hunter/Arc Music Corp. BMI/Chester Burnett)
10. China Cat Sunflower (3:24)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Jerry Garcia/Robert Hunter)
11. I Know You Rider (7:02)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Traditional)
Three From the Vault [Live] [Disc 2]
1. Greatest Story Ever Told (4:22)
(Jerry Garcia, Robert Hunter/Weir, Bob/Ice Nine Music ASCAP/Hart, Mickey/Robert Hunter)
2. Johnny B. Goode (3:26)
(Jerry Garcia, Robert Hunter/Berry, Chuck/Isalee Music Co. BMI)
3. Bird Song (7:04)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Jerry Garcia/Robert Hunter)
4. Easy Wind (8:17)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Robert Hunter)
5. Deal (4:22)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Jerry Garcia/Robert Hunter)
6. That's it for the Other One > Cryptical Envelopment > Drums > the Other Ones (16:09)
(Jerry Garcia, Robert Hunter/Bill Kreutzmann/Weir, Bob/Ice Nine Music ASCAP/Jerry Garcia)
7. Wharf Rat (9:08)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Jerry Garcia/Robert Hunter)
8. Good Lovin' (18:43)
(Jerry Garcia, Robert Hunter/Alley Music Corp. BMI/Arthur Resnick/Rudy Clark/Trio Music Co. BMI)
9. Casey Jones (5:00)
(Jerry Garcia, Robert Hunter/Ice Nine Music ASCAP/Jerry Garcia/Robert Hunter)
Notes Review by Jeff Tamarkin The Grateful Dead were literally at a crossroads when they took the stage at the Capitol Theatre in Port Chester, NY, on February 19, 1971. The previous night, the first of six shows at the venue would, for a number of reasons, be the last for drummer Mickey Hart for more than three years (a primary reason being that Lenny Hart, Mickey's father and the band's manager in 1969-1970, had absconded with a large chunk of their bank account). Suddenly, for the first time since late 1967 when Hart joined, the Grateful Dead were back to their original five-piece lineup: Jerry Garcia and Bob Weir (guitars), Phil Lesh (bass), Ron "Pigpen" McKernan (organ and harmonica), and Bill Kreutzmann (the other drummer). They had already shed a second keyboardist, Tom Constanten, in early 1970 and now this new downsizing allowed the Dead to return to the harder, more primal rocking sound of their acidic early days. (They would add a new keyboardist, Keith Godchaux, later in 1971, thus altering the dynamic again.) There were differences from 1967, of course: the more than two years of the first Hart era, a period of prolific touring (nearly 50 shows in the New York tri-state area alone during 1970), were highly experimental ones that had taken the band to stellar heights and new complexities; their musicianship, both individually and as a unit, had matured and refined greatly. In addition, their musical focus had shifted a number of times in those couple of years, with 1970 simultaneously responsible for some of the band's most magnificent electric concerts ever, but also the introduction of acoustic music that resulted in the landmark albums Workingman's Dead and American Beauty, considered by many to be their best. So the Dead who landed at the Capitol were streamlined, feistier ones for sure, but they had also come armed with a load of new songs, all very different than their earlier, more impressionistic originals to try out on their generously accepting fans. Several - "Playing in the Band," "Deal," "Wharf Rat," "Bertha," "Greatest Story Ever Told," "Loser," and "Bird Song" - would be unfurled at these shows, all of them to become GD staples for the rest of the band's run (all would also soon find their way to group or solo albums). There is a ferocity to the performance captured on this third installment of the From the Vault series that is markedly less diffused than the energy found on the band's 1969 Live/Dead album or traded recordings of 1970 shows. The 1970 sets were regal, mind-numbing, body-draining, epic, lysergic events; the Capitol show is an all-out rock & roll concert. There would be no more show-opening acoustic sets as they'd done often in 1970; this was about returning to the roots but starting anew at the same time. Which isn't to say the Dead had lost any of their gift; they simply channeled their power through a narrower tunnel. Garcia's soloing on the more up-tempo tunes like "Cumberland Blues," "Bertha," "China Cat Sunflower/I Know You Rider," and "Deal" is wicked, Weir found chords and rhythms that seemed never to have existed before, and Lesh locked in with the sturdy Kreutzmann to create one of the most dynamic, inventive rhythm sections in rock. Pigpen, well, was still Pigpen, mascot and fan favorite, his role as a player somewhat diminished but obviously enjoying the start of his last full year as a productive member of the Dead before his rapid demise set in (he would die in 1973). The ballads and mid-tempo numbers displayed new subtleties, and the band's collective jamming on the expanded excursions - "That's It for the Other One" and the Pigpen vehicles "Good Lovin'," "Smokestack Lightnin'," and "Easy Wind" -is still adventurous and evocative, if less meandering than before. The band's take on Chuck Berry's "Johnny B. Goode" is a bolt of lightning and the "Truckin'" opener establishes immediately that losing half of their percussion team isn't about to slow these guys down (Kreutzmann's