Most Helpful Customer Reviews
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22 of 25 people found the following review helpful:
5.0 out of 5 stars
A "Nightfall" to Remember, September 26, 2001
By A Customer
This release captures the raw power and exquisite musicianship of the Grateful Dead during one of its peak periods (1989-1991). "Nightfall of Diamonds -- 10/16/89 Meadowlands Arena" is a must for any Deadhead's collection. The Dead coming roaring out of the blocks with an energetic and well-played first set (disc one) opening sequence of "Picasso Moon">"Mississippi Half-Step">"Feel Like A Stranger". This opening sequence is matched only by the set closing "Let It Grow">"Deal", where Jerry Garcia's immense talents are fully on display. The second set (disc two) is what the Dead were all about; free-form musical exploration. Generous versions of the then-recently-revived "Dark Star" and Dead-standards "Playing in the Band" and "Uncle John's Band" are seamlessly linked by long, spacey sequences powered by Phil Lesh's impressive bass work and Garcia's melodic, midi-augmented guitar lines. Also, solid playing by Bob Weir, Brent Mydland and the drummers help place this set among the very best the Dead ever played. The band also throws in the rare "Attics of My Life" and "And We Bid You Goodnight", which makes this show extra-special. The sound quality is excellent and the music is well mixed. There has been much debate among Deadheads regarding the historical and musical importance of the 10/16/89 Meadowlands Arena concert. However, one listen to "Nightfall of Diamonds" should quiet most, if not all, critics of this show. "Nightfall of Diamonds" is a monument to the Dead's last "Golden Age", which in my view, was equal, if not superior, to any other period of the Dead's work.
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14 of 16 people found the following review helpful:
4.0 out of 5 stars
Excellent show...., January 16, 2002
By A Customer
This set is a worthwhile purchase for the second set alone. The first set has many highlights, such as the Picasso Moon>Half Step>Stranger opening sequence, and the Let It Grow>Deal closer. I wish the Let it Grow did not have MIDI "horns", since it sounds similar to the version on Without a Net. In fact, there is quite a bit of MIDI "trumpet" in this set as Jerry was really enjoying his new equipment. Still, it adds interesting texture to familiar songs. It's a good first set, not spectacular.
But, man, do things change in the second set. The Dark Star>Playing>UJB>Jam is incredible. The DS is not mindblowing, but it gets pretty spacey. The music stays in the outer realm during Playing In The Band, only to come back to earth for a short time for the Uncle John's verses. The Dead mess up the lyrics to UJB, but so what, Ive heard worse. Then it's back into flight for the JAM. This is one of the best Jam's I've ever heard on a Dead CD. Melodic and Spacey, it continues the Playin' theme for a while, then melts down into Drums and Space. The post-drums has IWTYH, an OK Brent song, then the unusual choice of Need a Miracle(very well played)>back into Dark Star for the rare second verse, into Attics (excellent). Whew! What a trip!
I can only say that Jerry was completely ON during this show. Every note, every phrase was absolutely Nailed! And the sound quality is perfect.
Highly Recommended!
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8 of 9 people found the following review helpful:
4.0 out of 5 stars
In Jersey of All Places, February 6, 2002
Nightfall of Diamonds captures the grateful dead atop the final plateau of their storied career. Through the years, various personal and musical transitions coalesced into a variety of musical textures and distinct "vintages" of grateful dead composition. This album captures a compelling version of the dead's final peak incarnation.
The musical landscape of this recording (and period) is marked by momentum and musical density. The band creates a robust (occasionally bloated) sound that favors force over subtlety. This "full" sound is prominently exhibited throughout the first set, in the half-baked melodies of "Picasso Moon," and "Victim Or The Crime," as well as in the dramatic, invigorating set closer "Deal." The band does demonstrate its ability to return to subtle dexterous play on the Dylan cover "Stuck Inside of Mobile..." (the band truly dances with weir's vocals on this one, particularly jerry and phil). SIOM... coupled with "Deal" reveal the extent of the first-set highlights.As stated in detail, the second set represents the noteworthy music of this recorded evening. In particular, the first half of the second set showcases the syncopated magic of the band's collective consciousness. The band slinks in, around, and through the familiar melodies of archetypal dead tunes, which exhibit a renewed sense of spirit. These familiar melodies are seamlessly tied together with delightful, spacious periods of collective investigation and discovery. From the opening notes of Dark Star through Drums the band breaths as one organism. The post space portion of the second set is a strong worthy showing, but relies more on the smoke and mirrors of set list construction as opposed to mastery of play. But this critique is only possible in comparison to the pinnacle results of the first half. We use to buy tickets in hopes of 5 transcendent minutes. This album gives you 40 to start the second disc.
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