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▀█████▓▌ MTD Proudly Presents ▐▓█████▀
[Info]
Artist : Grateful Dead
Album : Pacific Northwest '73-'74: Believe It If You Need It
Label : Grateful Dead Records / Rhino Records
Genre : Rock
Street Date : 2018-09-07
Quality : 239 kbps / 44.1kHz / Joint Stereo
Encoder : Lame 3.98.4 -V0
Size : 423.84MB
Time : 234:17min
Url : http://tinyurl.com/yapve6bw
[Tracks]
Disc 1/3
1. China Cat Sunflower (Live At Portland Memorial Coliseum, 8:37
Portland, OR 5/19/74)
2. I Know You Rider (Live At Portland Memorial Coliseum, Portland, 5:30
OR 5/19/74)
3. Bird Song (Live At P.N.E. Coliseum, Vancouver, B.C. 6/22/73) 14:21
4. Box Of Rain (Live At Portland Memorial Coliseum, Portland, OR 5:18
6,24,73)
5. Brown-Eyed Women (Live At Hec Edmundson Pavillion, University Of 5:02
Washington, Seattle, WA 5/21/74)
6. TruckinÆ (Live At Portland Memorial Coliseum, Portland, OR 10:43
5/19/74)
7. Jam (Live At Portland Memorial Coliseum, Portland, OR 5/19/74) 9:57
8. Not Fade Away (Live At Portland Memorial Coliseum, Portland, OR 6:55
5/19/74)
9. GoinÆ Down The Road Feeling Bad (Live At Portland Memorial 7:01
Coliseum, Portland, OR 5/19/74)
10. One More Saturday Night (Live At Portland Memorial Coliseum, 4:51
Portland, OR 5/19/74)
Disc 2/3
1. Here Comes Sunshine (Live At P.N.E. Coliseum, Vancouver, B.C. 12:10
6/22/73)
2. Eyes Of The World (Live At P.N.E. Coliseum, Vancouver, B.C. 13:23
5/17/74)
3. China Doll (Live At Hec Edmundson Pavillion, University Of 5:33
Washington, Seattle, WA 5/21/74)
4. Playing In The Band (Live At Hec Edmundson Pavillion, University 46:31
Of Washington, Seattle, WA 5/21/74)
Disc 3/3
1. Sugaree (Live At P.N.E. Coliseum, Vancouver, B.C. 5/17/74) 7:37
2. HeÆs Gone (Live At P.N.E. Coliseum, Vancouver, B.C. 6/22/73) 11:30
3. TruckinÆ (Live At P.N.E. Coliseum, Vancouver, B.C. 6/22/73) 26:06
4. The Other One (Live At P.N.E. Coliseum, Vancouver, B.C. 6/22/73) 15:21
5. Wharf Rat (Live At P.N.E. Coliseum, Vancouver, B.C. 6/22/73) 7:58
6. Sugar Magnolia (Live At P.N.E. Coliseum, Vancouver, B.C. 6/22/73) 9:53
[Notes]
Culled from several shows taking place in the Pacific Northwest on summer
tours of 1973 and 1974, Believe It if You Need It zeroes in on the Grateful
Dead in a particularly playful and comfortable phase, with the
Deadhead-populated region and the Dead's first taste of financial success
giving their playing in this time a more carefree fluidity. Certainly by
1973, they had come a long way from their hand-to-mouth beginnings,
establishing their own label, touring with an over-the-top sound system, and
showing up to larger crowds every year. Even hassles from the law and
tragedy in the form of founding member Ron "Pigpen" McKernan's death in the
spring of 1973 existed in parallel with what would be some of the most
fruitful times of the band's career, creatively and financially. The
dichotomy between breezy comfort and weariness can be traced in moments of
this massive collection. Looseness and abandon can be heard in the
improvisations that fill out the collection, in particular the sloppy and
shifting jamming on "Truckin'" (from Portland Memorial Coliseum, 5/19/74),
which alternates between choogling boogie, jazz noodling, and greasy
rhythm-heavy funk for almost 20 minutes. This same fearless exploration is
present on selections from other concerts around the same time. "Eyes of the
World" from a Vancouver date takes on a life of its own, reaching into
territory both triumphant and mournful but never letting up its electric
push. "Playing in the Band" from a 5/21/74 performance at the University of
Washington in Seattle is nothing short of epic, even for the Dead. This
straightforward rocker was traditionally the launching point for the Dead to
blast off into unknown territory, but on this date they enter a 40-minute
improvisation that leaves no stone unturned, taking turns of catharsis,
reflection, listlessness, and glee before Donna Godchaux's yowling vocals
re-introduce the original theme. The presentation of Believe It if You Need
It is interesting, drawing material from concerts held over a year apart in
a similar locale known for its love of the Grateful Dead. While in theory
the concept could illuminate connections between the band's creative energy
and the Pacific Northwest, the set has some glaring inconsistencies that
take away from the overall experience. Songs are cherry-picked from five
different shows and presented in a non-chronological order, with recording
and mix quality differing between shows. While some moments transcend (one
of the more beautiful readings of "Bird Song" and a seemingly spontaneous
breakdown into barbershop harmonies at the end of "He's Gone"), some
performances are too comfortable. Garcia forgets the lyrics here and there,
self-satisfied jams linger too long, and a bumbling, absent take on "Box of
Rain" (Portland, 6/24/73) is the definition of phoned-in. Even with the odd
presentation and occasional performance issues, this set captures the Dead
in what would be a short-lived period of playful release, grappling with
both sadness and success through some of their most free and searching
playing.