Customer Reviews

Dick's Picks, Vol. 22: Lake Tahoe, CA, 2/23-24/68

5 star:		(11)
4 star:		(3)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

Dick's Picks 22 (King's Beach Bowl February 23rd & 24th, 1968- disc 1 is thought to come from the 23rd and disc 2 from the 24th) was greeted with hosannahs by the Grateful Dead fanbase when it was first announced. Why? First, because it came as a COMPLETE surprise - nobody in the trading community had any reason to believe the tapes of these shows existed. Second, because it came from such a "prehistoric" and undocumented period in the band's career. Third, because it featured such an insane line-up of songs. A 19-minute "Viola Lee Blues?" Check! The entire Anthem of the Sun album, including "Born Cross-Eyed" (first-ever release) and a "That's It For The Other One" suite that was only 7 minutes long and featured one drummer? Check! One of those early Dark Star > China Cat Sunflower > The Eleven sequences, from before "St. Stephen" was written? Roger that. And - sweet jesus, what's this? - Alligator > China Cat Sunflower > The Eleven > Alligator > Caution > Feedback?? A completely unique sequence of songs, never before and never again duplicated.

But the reason DP22 is so highly regarded among Deadheads isn't just because of its previously uncirculated nature, or even because it comes from the alluring early years of the Pigpen-era band, before establishment of the standard "1969 sequences" (e.g., Dark Star > St. Stephen > The Eleven > Lovelight/Death Don't Have No Mercy, etc). No, with Deadheads it's ultimately about the quality of the show itself, and DP22 is a piker. This set is magnificently performed, full-to-bursting with spiky, rough-edged energy that makes it clear how HUNGRY this group was. And how confident, too. Listen to the joyful noise Garcia creates on "Turn On Your Lovelight," tossing out acid bop melodies with sweet abandon: he's finally FOUND himself in this song - so has Pig - and you get to hear him revelling in it. (It remains one of my favorite "Lovelights" ever.) I've always been of the opinion that the Dead never played their blues numbers quite as well as they did during this early period - the heaviness of the ensemble's sound, mostly a function of the Gibson Les Paul Garcia was playing, is part of the reason - and great versions of "Viola Lee Blues" (19 minutes of sheer madness), "It Hurts Me Too," and especially "Good Morning Little Schoolgirl" are affirmations of that.

But in the end, it's the jams which make this Pick so wonderful (this is the Dead, after all). On disc one, the Dark Star > China Cat > The Eleven > Lovelight sequence is fully realized, with the transition between "Dark Star" and "China Cat" being especially deft. And wow...at the risk of sounding like one of those annoyingly hyperbolic fans who you can't trust (because they declare everything by their favorite band to be "THE BEST EVER"), I will pronounce the "Alligator" sequence on disc 2 to be one of the finest moments of live Dead music I have ever heard. It's effervescent, disciplined yet casual, clearly driven by spur-of-the-moment impulse (after the end of the "Alligator" verses Weir takes charge and decides to send the song into "China Cat" and "The Eleven") but never out of control, and wonderfully played. The "Alligator" reprise is actually BEAUTIFUL, which is not a word you associate often with Primal Dead (they weren't much into "delicacy" or "beauty" at this stage of their career): it has the first-ever playing of the famous "And We Bid You Goodnight" theme and oh is it ever played well.

Okay, the praise is clear, but some warnings are in order: there are some real sound flaws on this Pick. Not in terms of actual sound QUALITY - actually I find the analogue tape to be quite inviting in its warmth - but rather in terms of microphones. Sometimes they didn't work. Sometimes Pig, Bobby or Jerry stepped away from them, or maybe a connection wasn't quite plugged in. There's nothing that will really bother a serious fan (though listeners with sharp ears will notice that a missing section of "Turn On Your Lovelight" from disc 1 was inconspicously patched with material from another show), but this sure as heck ain't Two From The Vault, either.

If you're a prospective Deadhead who's never heard the band outside "Casey Jones" and "Uncle John's Band," but wants to jump right into the live material, this shouldn't be your first purchase. (Go get Live/Dead and Europe '72 instead...buy both at the same time, too.) But for anyone else who ever considered themselves a fan of Primal Dead, this is literally an essential purchase, arguably the greatest Pick that has yet been released. It fulfills all the criteria: it gives us a show we had never had, it hails from a relatively undocumented period, it features rare performances and unique sequences, and it's BRILLIANTLY PLAYED. If you're at all a fan of this era of the Dead, this is the biggest no-brainer since the re-release of Anthem of the Sun.

**ATTENTION 10/05/05**

I can finally make a "Further Recommendation" for those wishing to sample more from this fascinating era of the Dead's career, as dead.net (The Dead's online store) has just made available Volume 6 of their new "Download Series": March 17th, 1968 at the Carousel Ballroom in San Francisco. Portions of the first set of this show were used in the creation of Anthem Of The Sun, and the Dark Star > China Cat Sunflower > The Eleven sequence from the previous day's show was included on the So Many Roads boxed set. While Dick's Picks 22 remains the superior release (simply terms of how much you get, and the fantastic setlist), the performance of the 3/17/68 is fully the equal of 2/22-23/68. If you have a broadband connection, I *STRONGLY* recommend it for those who wish to further explore this era.

Disc One:
Viola Lee Blues (19:16), Hurts Me Too (4:13), Dark Star (6:49), China Cat Sunflower (4:38), The Eleven (10:33), Turn On Your Lovelight (12:40), Born Cross Eyed (2:32), Spanish Jam (7:23)

Disc Two:
Morning Dew (8:10), Good Morning Little Schoolgirl (14:39), That's It For The Other One (8:13),I. Cryptical Envelopment - II. The Faster We Go, The Rounder We Get - III. Cryptical Envelopment - New Potato Caboose (9:08), Alligator (3:45), China Cat Sunflower (4:14), The Eleven (7:17), Alligator (6:39), Caution Do Not Stop On Tracks (11:49), Feedback (4:55)


This is one of the best of this new batch of six Dick's Picks released to retail outlets on 8/31/04. This one was a surpise to all of us, as these shows didn't circulate before, and a great surprise they were! The caveat on the set mentions the sound quality which is indeed rougher than alot of the Picks, but it doesn't detract from the experience. In fact, I prefer the natural, open, analog sound of this Pick much more than some of the "cleaner" Picks which almost have a tendency to sound sterile and too digital. Once your ears take a few minutes to acclimate to this Pick it will suck you right in.

For as often as people tend to think of primal Dead as all explosive bursts of untamed energy, listen to the playing on the opening Dew from disc 2. Even at this young age, Garcia had a lyricism and melodic sensibility that none of his electric rocker contemporaries had. Gorgeous playing there, and of course his tone. You won't be freaking out over this Dark Star, as it's too young here to really do much, but on disc 2 from the first Alligator to the end...this is what the Grateful Dead were all about. Strap on the headphones, lay down and let them twist your mind into tangled knots of otherwordliness... all topped off with an alien beast of a Feedback.

There are those who don't like the early Dead. This has always seemed very strange to me -- ANTHEM OF THE SUN has always been one of my absolute favorites, and in my view it was all downhill after 1968 and 1969, though undoubtedly some incredibly beautiful music was made on the downslope from 1970 through 1974 as the band increased in proficiency on their instruments, developed their jamming telepathy, and of course wrote better songs.

I was initially scared off by the warning about sound quality, but rest assured, if you like the 1968>1969 Dead sound, this is fantastic stuff. The main problem as far as I can tell with sound quality is that the vocals fade in a few spots. Otherwise, the rougher sound is mainly because the Dead played rougher back then! Garcia's tone is dirty and fuzzy, and that graceful dolphin arc is only yet a glimmer in spots, especially "Dark Star."

I am not a hardcore tape-trader, but as someone who has loved the 1968>1969 Dead sound since the early 1970s, I can testify that this is one of the finest treasures to be produced by the Dick's Picks project. In its own right, this is powerful, exciting music, a veritable runaway train of energy, shooting sparks in all directions -- warts and all it towers over most glossy, state-of-the-art rock music with its raw energy and drive.

Here are a few more specific comments: 1) All the material that later shows up on ANTHEM is here, but "Born Cross-Eyed" stands alone, separate from "The Other One" and "New Potato Caboose." 2) "Dark Star" is followed by "China Cat" on the first disc, but it is not really a "Dark Star>China Cat" jam -- there is no transition, the band simply finishes "Dark Star" and starts into "China Cat." The "China Cat>Eleven" transition is exactly the same as what later becomes the "St. Stephen>Eleven" transition. 3) "Spanish Jam" sounds incredibly Quicksilverish (of HAPPY TRAILS vintage), complete with a Cippolina-sounding Garcia. 4) The dual drums get a bit tiresome in places as they fall into the same predictable rhythm together. It's clear by contrast how much Kreutzmann develops (and is able to show it) after Hart leaves the band -- it's not only Garcia, Weir and Lesh that improve as musicians.

See my complete lists of all Dead recordings on this site for 1968>1969 (PRANKSTERS & OTHER ONES), 1970>1972 (COSMIC COWBOYS), 1973>1974 (EYES OF THE WORLD), and 1975>1977 (ESTIMATED PROPHETS). And I'm in the process of reviewing the Dick's Picks, so look for them as well, so far including DP 16 (1969), DP 4 & DP 8 (1970), DP 23 (1972), DP 19 (1973) and DP 10 (1977).

I don't like to knock any Dick's Picks from this early in the Dead's career, because I wish they'd release more. That having been said, this leaves a bit to be desired in terms of sound quality. The performances are great, especially the Phase I version of "Dark Star" (a mere year later it had morphed into a 20-minute free-jam, but it was still almost at the original tempo here). All too often, however, the vocals are all but inaudible. This isn't just one or two tracks; it's throughout. And it's a shame, because otherwise this is a heck of a show. For Deadheads it might still be worth it, just to hear the nice, early mix of psychedelia and blues crunch. Just be aware of what you're getting goin' in.

It's all about the jamming.
Dick's Pick's 22 explains why many people love the Dead circa
1968/69. This is an absolute treasure. The Viola Lee Blues is
19 minutes of sheer glory, comparable only to the monumental
version on Dick's Picks #8. Spanish Jam----I've never heard
a better version. Morning Dew---Jerry's lyrical genius at such
a young age! Other One: captures the psychedelic essence of
that classic. Then...the final extended jam(s) on CD 2...
from the first Alligator to the end...it's not loony to say this
is the finest Dead performance ever recorded. The China Cat
on CD 1 is great, but the China Cat on CD 2 is even greater...
a much more jamming version than any other recording of said song.
If, here & there, the vocals sound a little muffled...that's
OK! It only enhances the jams. So if you already love the Dead
and have lots of Dead CDs...and have not yet heard Dick's Picks 22...prepare to discover GOLD!

From the point of view of a relative newcomer, the plethora of official live recordings released by the Grateful Dead can be daunting, to say the very least. It's difficult to know where to begin, especially considering the fact that the band went through so many different musical phases during their long career. There is also a lot to choose from, so what you choose should depend entirely on which period in the band's career you prefer, simply because each phase in the Grateful Dead's musical evolution is quite different. I have always enjoyed the psychedelic material, which leads me to this review.

'Dick's Picks 22' is a fantastic entry in the series. It comes from quite early in the band's career, when The Dead still feels the need to acknowledge their roots, whilst also tentatively beginning to explore new territory with the epic jams that would soon become their trademark. At this point, improvisation and jamming has not yet reached the heights of excellence that it would reach in later years, but it is still wonderful to hear.

This particular show has a loose, relax feel. It is intense in places, but most of the time the band is content simply to meander along. This is not a bad thing, however. There's plenty of warmth, colour and melody, which gives the show its own special appeal. The music does not attempt to be confrontational. It's the subtlety and myriad of different shades in the music that makes it special. Just listen to the fantastic versions of 'Spanish Jam' and 'China Cat Sunflower'. In my opinion, the Grateful Dead's original material is what makes this album great; only the covers slightly let them down. Musically, it sounds incredibly natural and I think that's what the appeal of this album is.

One more thing, some other reviewers have complained about the roughness of the sound here. It is a little rough but it's not enough to worry about. The vocals are lost in places and the sound is probably not as clear as on other releases, but it has character. It's not crystal clear, but that's irrelevant. It doesn't make any difference to the listening experience. I wouldn't qualify it as 'bad', by any means.

In summary, 'Dick's Picks 22' is a really great quality show and a worthy addition to your collection.

This set is from Feb. '68, so it was relatively early in their career, but this performance is mind blowing! The jamming is great on here, and that is what comprises most of these CD's. The songs sound really fresh and are played with enthusiasm. Sure, the sound quality isn't as good as other Dick's Picks, but there isn't too much to complain about. Born Cross Eyed is probably the weakest song on the CD, simply because it is so hard to play live. Even though it wasn't written yet, it is nice to hear something other than St. Stephen after Dark Star. They put in China Cat Sunflower, and this version is my favorite! It is in a different key and the tempo is sped up. Dick's Picks 22 is defenitely worth [the price]!

This is the sound of the Dead about halfway between the recording of their first studio album and the release of Live/Dead. The songs are not quite as stretched out and dreamy as they would be a year later - this is especially noticeable on later concert staples like "Dark Star" and "China Cat Sunflower".

The expanded lineup, which now includes Tom Constanten on keyboards and Micky Hart on drums, is beginning to outgrow the old arrangements and textures. A lot of material from Anthem For The Sun is in this set. I have really enjoyed finding this lost jewel.

The sound quality is excellent. The mix leaves a TEENSY bit to be desired - the vocals are fairly buried most of the time - sometimes nearly inaudible. It sounds like the only vocals that made it onto the tape are what leaked into the instrument mics from the monitors. That being said, this is pretty much the mix you would have heard if you'd been standing right in front of the stage during the performance. Concert sound back in those days was such that if you wanted to hear both the instruments AND the vocals, you needed to sit about 30 rows back or more. Any closer than that and you were just going to hear one or the other.

DP 22 does not disappoint. You never know what to think when you go back so far into the vaults but the quality here is outstanding. The minor (and they are minor) flaws have all been pointed out in other reviews. So I'll point out some of the things that make this great. Garcia and Weir's guitars play off other in a way that is almost hypnotic. The band rocks and I mean rocks! They never seem to let up. Later they would move into the more jazzy sound that became typical of the early to mid-70's. But in '68 they were a hungry psychedelic blues band trying to push the boundaries on everything - and obviously having fun. You also get a young Pig Pen in his prime - working to get his blues message across while the band pounds out crazy jams all around him - and he seems to be having a blast too. The version of Alligator will blow your mind. There are moments here that have you feeling like it is 2/23 or 24 1968 and you are in Lake Tahoe. This is one that I highly recommend to all the dead fans out there. Purchase, play and enjoy.

This is a spectacular representation of primal-dead. The Grateful Dead in 1968 were young and rebellious. Every show they played was played as if it were there last. Jerry, Pig, Phil,Billy, Mickey, and Bobby were all pushing the boundaries of music and their particular talents. It is in this era of Dead where Phil and Jerry truely found their voice. (Can you beleve that Phil was self consious about his playing style in 1966? It didn't show.)

Back to the CD... If you are a Deadhead, I don't know why you are reading this because you probably already have it. But if you are just a music fan who wants to be consumed by deep textures of psychadelic music, this is for you