Customer Reviews

Steppin' Out with the Grateful Dead - England '72

5 star:		(32)
4 star:		(8)
3 star:		(1)
2 star:		(0)
1 star:		(2)

 

 

I have been listening to the Dead since 1976 when I saw my first show at the Beacon theatre in NYC. I have heard and colected hundreds of tapes, and more recently, CD's. Believe me when I tell you that, if you like the Grateful Dead, BUY this CD!! The band, in 1972, was at (or beyond!!) the top of it's form. Before the drug problems and comas this was when the Dead were probably one of the best bands bands in the world. The CD starts out with a sweet "Cold Rain and Snow' and takes-off from there. "Playing in the Band" nearly leaves Earth orbit. "Comes a time" is sweet as can be, one of those prortypical slow (Almost frozen in time) Jerry ballads. And check out the Monster Dark Star -> Sugar Mag -> Caution. Caution in '72 - you bet. Fasten your seat -belts and take the phone off the hook.

My only complaint is that whoever did the mix mixed Jerry too loud. I have heard other bootlegs of these shows with a better overall volume balance between all the instuments. Althought I obviously love Jerry's guitar, I prefer a mix that goes more for the overall orchetra or "gestalt" sound. But still, I am very happy with this CD. Actually, more than happy!!

Steppin' Out (along with Hundred Year Hall) is probably the greatest example of how powerful the Dead were in 1972. This set contains, in my opinion, the greatest Dead lineup, minus Mickey Hart.

What is actually great about this set is that fans of the early Live/Dead era stuff or fans of the Post-Pigpen years will get the best of both worlds, here. You get Pigpen's B3 organ, Soulful Voice and astounding harp blowing wrapped up with Keith Godcheaux's stinging grand piano (he used the Helpinstill piano pickup system, that's why the piano always had somewhat of an electric feel to it, which you couldn't get with microphones; piano players and/or Helpinstill enthusiasts, take note).

Steppin' Out contains so many definitive Dead moments that were never released. Disc 1 and 2 contain superb performances of the shorter songs, especially "Greatest Story Ever Told", "Deal", "Black-Throated Wind", and "Playing In The Band". Speaking of "Playing In The Band", I really think that this is the best version that the Dead had ever done of the song. I really don't think that any hour-long jams that this song bookended after 1974 really captured the essence of the song, as well as this version does.

Speaking of hour-long jams, the "Truckin'-Drums-The Other One-El Paso-The Other One-Wharf Rat" jam on Disc 3 is the true defining moment of this set. However, "Dark Star-Sugar Magnolia-Caution (Don't Stop On The Tracks)" on disc 4 is just as deserving of the same title. But the only problem I have with it is that Donna Jean Godcheaux doesn't get up and harmonize on the "Sunshine Daydream" section with Bob Weir. She did that so well when you heard it on "Europe '72" (although I read that Donna's part was later added during studio overbuds for "Europe '72", so that answers my question). After mayhem of "Caution", Disc 4 and the entire experience in general, ends with the best closing song ever imaginable, "Brokedown Palace". It just sums up everything that has been experienced throughout the duration of the set.

Getting down to the musicians, Jerry Garcia and Phil Lesh's lead guitar-bass guitar interplay has never been performed so well, especially in the cerebral modal crosstalk throughout "The Other One" and "Dark Star". Whenever Jerry plays low notes on guitar or Phil plays high notes on bass, they sound so similar, it's almost impossible to tell them apart. Bob Weir's solid rhythm guitar has never sounded so rich and full and hasn't since (during the tune up between "Ramble On Rose" and "Black-Throated Wind", he plays the opening guitar lick from "Weather Report Prelude", which makes you wonder what other things they may have needed these tapes for). Billy Kreutzmann's drumming is just so solid , especially on "Drums" where he rings in "The Other One" in true rhythmic splendor. Along with Kreutzmann, McKernan's random moments of backup percussion (tambourine [audible on "Deal", "Jack Straw", "Wharf Rat", and "Black Throated Wind"] maracas/shakers ["Sugar Magnolia", and "Playing In The Band"], guiro ["Uncle John's Band"]) really does at least make up for parts that were originally played by Mickey Hart in the studio. Still the double drumset crosstalk is sadly absent, and in a way was never the same again after Hart's departure and return, being that both Hart and Kruetzmann changed their drum sounds and styles radically after 1972.

Basically to summarize, any body who even likes the Dead a little bit, should get this set just to here really good live versions of their short songs, but any devoted Dead fanatic who followed the band in it's later years, but couldn't get over to England in time for the recordings of these shows (or you weren't born yet), should get this for the metaphysical/psychological rush of musical mayhem that is the jams, that encapsulate the ends of discs 2, 3, and 4.

The Dead sound very powerful, yet very natural. In later years, they would expand their stage setup with so much percussion equipment and amplifiers that the music seemed to become less original and astounding. This is why, in many respects, this was The Dead at their pinnacle, with Pigpen on his way out and Keith and Donna on their way in. Pretty much the only thing that could've made this better would've been a surprise appearance by Mickey Hart, but unfortunately that was never to be (at least with Pigpen still in the group).

So please, do yourself a favor and buy the album. I promise that a fan of The Dead on any level will love it.

Like many DeadHeads I have heard much of this material before, most recently on CD-Rs of exceptional quality. Still, the sound here is a big step up in depth and ambience, making the collection a must have (I guess for GD addicts it's all must have but this time I really mean it).

In any case, the E72 shows represent a peak in the Dead's creative output matched, possibly, only a few other times in their career. The compiled version of Other One>El Paso>Other One and the Dark Star (not a comp - most of disc 4 is from April 8th 72) are a healing journey for which I am grateful indeed. Another fave of mine is the Black Throated Wind, which was never better than in 72. This set is a great companion to the original E72 (recently augmented and rereleased on the Golden Road set), and will stay in my CD changer for some time to come!

And I suspect that GDMusic is saving 5/25/72 for a release yet to come....

I bought this because I was at the Bickershaw festival, Wembley arena, and the Lyceum. However, thanks to the the 30-year difference and a few other things ;) I remember very little from the shows. I do remember meeting Jerry backstage at Bickershaw and coming out of my first Dead show and looking at the Wembley residents watching TV in their front rooms, and realizing that there were some unlucky people who actually never knew what the Dead were like.

Luckily we still have records like this. I thought the cream of the shows from that tour had been skimmed off with "Europe '72," but to my mind this is better. Clearly it's longer, but there are sublime moments all the time. I wasn't much of a fan of Pig Pen, or Keith and Donna, yet after hearing a few tracks that featured them I was left wishing for more. Ditto for some songs that I used to think didn't show the Dead at their best, but they come on really strong on this set.

Yes, the Dead sometimes sang (and played!) out of tune. Yes, I can see how some people can dismiss Garcia's playing as endless noodling. But if you put that against the astounding ensemble playing and Garcia's abilities when he "hit it" (and he certainly hits it a lot of the time here), you won't care. The Dead were a band that had more ideas in ONE performance of ONE song than most bands had in their entire career.

So definitely a classic Dead album. If you like them, you won't be disappointed.

What is amazing about this recording, in addition to how alive and textured it sounds, is that the Dead were extremely polished and tight (as they would be from the early '70's on), while still able to tap into their late '60's improvisational, blues/boogie vibe. Here they are at a critical time of transition between the Pig Pen inspired rapping of Good Lovin' and Lovelight (both versions here are arguably the best ever put out on record by the Dead), and the tight, countrified sound they struck throughout the early and mid-70's (after Pig Pen got sick and eventually died in 1973). Unlike the original Europe '72, which is brilliant in many ways, yet distant and overly polished in feel, these recordings have a risk-taking intensity that is inspiring and awesome. Jerry Garcia feels free to explore a wide variety of textures, styles, and sounds (he plays slide in the middle of the Good Lovin' jam, for example). His second solo on "Sittin' on Top of the World" is worth the entire price of admission: it's boogie jazz, and you hear why Garcia was a true original. No one else could play like that. Phil Lesh is loud and often ferocious on bass. Kieth Godchaux adds sense and color on piano. And Bill Kreutzman (free of the bombast of Mickey Hart) repeatedly turns the band on a dime with expert drumming. Among other highlights is a beautiful "Uncle John's Band" marked by mournful harmonies and a dark, churning jam to finish. "Mr. Charlie" sports another bluesy, funky Garcia solo (much better than the Europe '72 version). The "Dark Star" is relentless--the Dead refuse to stop exploring the spaces hidden in that piece. This is the Dead at their very best. And in this music you hear how important Pig Pen was to the band. Finally, it's important to play this music loud.

Bob Weir described the audience of which I was a member the 'coldest, stiffest, audience I've ever played for' - a description I was happy to read again in the inlay for this excellent four CD set.

In our defense, I and many of the others who packed into the newcastle City Hall to experience our very first Grateful Dead concert, were starving for the psychedelic Dead that we had grown to know and love so much. Sure, we also loved Workingman's and American Beauty but we were not so sure about the second live album. The New Musical Express at the time derided it as 'Boogie Dead' and claimed that the band were well passed their peak. I recall at that venue too, dancing was not permitted and bouncers were employed to restrain the audience and return them to their seats or throw them out if they were persistent offenders. The show was indeed great music and I listened in awe to the sheer magnificence of Pigpen and Jerry's fluid guitar runs once they got going. The performance was also marred by the frequent tune ups and by the fact that at 11pm the band was still playing but many of us had to leave otherwise there was no transport home until the next day.

By contrast the Bickershaw Festival was one of those miracle days. The event was cold and wet. Plenty of mud but no frolicking like Woodstock. Instead we all huddled together to keep warm as their was little fuel for fires. We had been rained on again and it was very cold. The New Riders had put on a fine performance and shortly, it seemed, before dusk the band came on to the stage and the sun shone with a fantastic performance including 'Dark Star' which raised our spirits and helped us forget our troubles for the next four hours or so.

Some of those performances are recorded on this album. At some points the tape hiss intrudes but none of it detracts from the performance. I love the whole of side four but my real favourite is side three with an admirableseries of fluid tunes from 'Truckin' through to 'Wharf Rat'.

The set has some of the best official recordings of Pigpen I have heard, especially given that he was in poor health. 'Turn on Your Lovelight' on disc two is AWESOME.

Steppin' Out is the Dead at the height of their power. Their versatility is incomparable. No other band before or since could perform the range of material they do switching easily between genres and yet making it their own. I am a little biased because these were shows that I was at but trying to be as objective as I can I would say that this is one Grateful Dead album that is a must for any collection. Superior to Hunded Year Hall, it is an historical record of the pinnacle years of the band's performance.

Great job on the sound and production. My only reservation is the sparcity of tracks from Newcastle City Hall. Perhaps when the Terrapin project is completed I can make my own CD from the band's own archives.

Excellent, excellent, excellent.

This is an exhaustive collection with so many hidden jewels that it would be impossible to list all of them here. Basically, this set makes an excellent companion to the previous Europe '72 release. At the time of that release, selection decisions were made with 20 minute album sides in mind. With "Steppin' Out" we are now treated to glorious chunks of music that never would have been released due to those constraints. For example, There is a wonderful 45 minute Truckin'>Other One>El Paso>Other One suite that ventures off into many different directions winding down into a sweet Wharf Rat to round out disc 3. Then, on disc 4 is a 31 minute Dark Star that sounds almost orchestral and symphonic at times that segues into a smokin' Sugar Magnolia. After the Sunshine Daydream coda, The Dead make a sharp left turn into a blistering Caution(Do Not Stop On Tracks) that doesn't let up for another 17 minutes. In addition to these highlights are great versions of most of the other songs that had become standard in the Dead's cannon at the time including a couple of rarities such as Hey Bo Diddley and Rockin' Pnuemonia. There are better versions of the longer selections available such as the Truckin'>Other One on "Hundred Year Hall" that spans nearly 45 minutes and numerous Dark Stars scattered throughout the "Dick's Picks" series. But if you're somewhat new to the Dead, or if you already have "Europe '72" and "Hundred Year Hall", then "Steppin' Out" is definately worth the 5 hours and 15 minutes!

This disk is defective because it does not conform to the Compact Disc Digital Audio format. It is not a true "CD" as we have come to know it. Do not buy it because you will not be able to play this disk in your computer CD drive, or convert the songs into MP3 to play in your MP3 player. By "copy protecting" this disk, Arista records is attempting to deny you your rights of fair use.

Europe '72 is generally considered to be among the best Grateful Dead tours, if not the best. There are also some things that make it unique- kieth on piano AND Pigpen on organ/vocals (it was his last tour, but pig had plenty left). Garcia plays a Fender stratocaster, giving his playing a different flavor. The band was at an impovisational zenith. This is a good set for fans of the original europe 72 album to get, very good recording too. They did make some excellent choices for Europe '72 though, as the songs which appear again on "steppin out" - China Cat sunflower, Truckin, Sugar Magnolia- are represented with better versions on Europe '72. Steppin' Out might be more desirable for "purists" since it has more uninterrupted song cycles, and the Europe '72 album contains studio vocal overdubs. Phil Lesh plays with incredible power here- muscular and inventive-this is a man possessed...the way he plays his custom Alembic bass is a huge part of the way Steppin' out sounds, there is a ryhymic drive that makes these songs exciting. The whole band plays like a freight train at full speed. All the while pigpen slips in his trademark organ fills and bluesy vocals. Bob Weir had just released his solo album "Ace" and he takes a larger role on this tour. Keith's playing is sophisticated-like finishing brush strokes to complete the picture- beautiful. I don't think Garcia's playing had quite reached his peak, but he comes close enough. The band still had its youth and energy occurring simultaneously with the musical advancement of each member and collectively. This intersection marks Europe '72 out as unlike any other grateful dead tour...some feel it was never equalled. There would not be this many hot shows on one tour until spring 1977- where Garcia's star shines brightly- albeit with a lot less jamming. The instrumental interplay on "Dark Star" and "The other one" is something there would be less of as time went on. After Europe '72 tempos gradually got slower and the jamming/improvising would eventually be reduced to nil. Steppin' out is a fine example of the bands improvisational bent. This CD set is among the best ever put out by the Dead archives- nice photos, notes and sound quality- a must for old and new fans alike. This is classic Grateful Dead.

This release is a "Dead Heads" dream come true. For all of us Pigpen lovers, "Steppin' Out" is a must have. This recording took place during the Deads most creative and energetic musical existence. A lot of the old standards that we know today were debuted on this tour. Buy it, you'll like it (love it!).