#65924  by GratefulPat
 Thu Sep 17, 2009 9:17 am
ty ty! just gave it a listen and i pretty much played the uptempo ending note for note following about a second behind what jerry was playin, i didtn find there was too much crazy modulation of scales, iwas in a and b, thats about it,. it def sounds like a precursor to fire on the mountain though, that i can agree with you on.
 #65926  by old man down
 Thu Sep 17, 2009 9:38 am
GP, I think it was July 28th, 1973. It was supposed to be a soundcheck but they played a lot of songs, so like a concert. They were much better the Friday night rather than the following Saturday. The Saturday they began at noon and it was hot with almost no shade from clouds.

Here's what I've been able to breakdown:

Movement No. 1: From start of song to a light touch of chords, playing just the two high strings, which leads into a high note kick off and then he's off and running.
Movement No. 2: Off and running to dissonant note chording and note wandering.
Movement No. 3: Dissonant note chording and note wandering to Keith's first B chord/A chord setup.
Movement No. 4: B chord/A chord to end of song.

Movement No. 1: It is beautiful, especially early in the morning on my nylon string; essentially I have this completely tackled and am happy with it. Maybe 4 minutes in length.

Movement No. 2: It is the hardest because he has such weird tasty note choices and hopefully I'll figure out what he was thinking someday. I'm hoping to have a breakthrough where I learn that he is just going back and forth between two keys, but I'm woefully stumped here as a lot of stuff doesn't add up whatsoever. So, I'll just have to muddle through here, persevere, and by rote eventually get it. So, I work on a few of the elements and maybe they'll connect together as I expand them. I have a lot of this worked out but it needs brushing up so that I get the forte of his playing.

Movement No. 3: This part is so weird that it is not worth learning. It is some sort of dissonant chord arpeggio that he milks for all it's worth. It is learnable because it is just Jerry playing solo without anyone else playing. He stays in this pocket for maybe 5 minutes.

Movement No. 4: Perhaps some of his best work ever. But eventually I intend to supplant some of Bobby's part here for Jerry's part because it add so much flavor. (Bobby at one point does this B chord arpeggio, lets it ring, then goes down two frets, hits the A chord, then an immediate Asus4, and then the A chord again but only the higher strings; the net result is like a single note walkup but with whole chords, and the Asus4 isn't even in key yet it works so effectively.) The ending of this movement leaves you never wanting it to end. Jer/Bob turn it around so effectively and the song finishes with, can't be sure because I haven't gotten there yet, what may be a C chord to an A chord.

So, these days I'm just working on the 4th movement, and it is a lot of fun. A fun puzzle.
 #161000  by old man down
 Sat Apr 14, 2018 9:53 am
Ok, … well, it looks like it has been since September 17, 2009 since I gave this song a shot. But, I'm back at it.

I was searching around on the Internet and came across this thread, which inspired me to get back to it.

http://r.search.yahoo.com/_ylt=AwrJ7Fsa ... H5WSa7T6U-

That guy seems to have been equally affected as myself. It's like we are Richard Dreyfuss in Close Encounters of the Third Kind, and we have sunburns on our faces. :lol:

Anyway, I played the Soundcheck Jam last night, and then this morning I tuned up my acoustic to pitch, and since The Grateful Dead were so kind to upload So Many Roads to YouTube last year, I can practice ideas right at my computer now.

So, I'll try to start tabbing a solo acoustic version here, and see where it goes. See where I'll settle in. My guitar playing is so rusty. My collection of songs has dwindled down to just a handful of solid works. And everything else is like in the Attics of my Life. :lol:

But, I then tried a few introductory notes of WGSJ and it started to come back to me. This should be fun. I wonder where it will be by the end of summer.

Rukind is such a valuable resource when it comes to picking up where you left off, no matter how many years ago.

As I look around my house for scraps of stuff I had worked up on this song, from 8 1/2 years ago, and finding little, I did find my original notes, which show I began working on this song in late September of 2000. "Have listened to it on CD around 100 times now." (10/03/00)


 #161021  by old man down
 Tue Apr 17, 2018 12:07 pm
Before getting into it, I remember that when there, you weren't allowed on any of the speaker towers. Some people would perch themselves on the Port-A-Sans, but you wouldn't want to be on them for long. (right? And besides, they were way off to the sides, so not that great a view.)


However, I had always remembered that there was a pole right in front of the stage, and near the top of it was a cross beam, and you could sit on it. But you'd have to shinny up it, and some of those who tried it only got so far before exhaustion would kick in, and they'd carefully lower themselves back down.

At the time, one of my friends referred to it as "the a**hole pole," because you'd have to be an a**hole to try to get up it.

But as the evening wore on, it looked like such a perfect perch, like a crow's nest, with a beautiful view of the performers on stage, and this especially so because more and more people were trying to get close to the stage, and we were all getting packed in like sardines.

Over the years, I'd go Online and look for pictures of the "a**hole pole" but I'd never find any. Although I clearly remembered seeing it, talking about it, and wishing I could have been atop it, still, I'd never find a single picture of it. The photos always showed the area near the stage, but no evidence of the pole:


Until today! Here's a view from the stage (looks like The Band were playing) and here's a view from the side. These are the only two pictures, from all of the dozens of pictures that exist, that I've ever seen of it.


See? Really nice view. (But don't fall!)

However, I had forgotten, or didn't realize, how far up the pole you'd have have to shinny to get up on top. That's much further than I had remembered. I thought it was about 15 feet high. But it looks like you're a good 25 feet up. Wow.

Post edited twice: 1st time to remove a photo from a different concert from May 1973 that had a near identical stage and awning, and the 2nd time to post this comment.
Last edited by old man down on Thu Apr 19, 2018 4:54 am, edited 2 times in total.
 #161034  by old man down
 Wed Apr 18, 2018 12:38 pm
MattMan wrote:
Wed Apr 18, 2018 6:18 am
Awesome pics. Great topic. Such a cool piece of music. Its got that Dark Star / Eyes / Franklin's Tower feel without those songs actually being played. I can hear Jerry's subsequent Blues for Allah soloing style evolving in this jam.
Listening to July 27, 1973 on Archive right now.

Our "caravan of 3 cars" had pulled into the general area of the Race Course with a few more hours of sunlight available. We found a place to park/camp in a lower field adjacent to the fenced off fairgrounds. Other people, already camping, brought to our attention that plenty of bottled water was available nearby, and so we went to get some. Then it was quickly set up our tents since dusk was upon us.

Off in the distance, wafting, we could just make out Sugaree being played and we realized that The Dead were playing!

So, we quickly got our acts together and rushed up toward the fenced off fairground. At this point, people were climbing over the tall gate of the fence alongside a grassy dirt road. There was no pavement anywhere. Just dirt roads and border fencing, fencing put up maybe just for the Summer Jam. (when we came back this way later that night it was completely torn down) We had our tickets on us thinking we would need them to get in, but there was no officialdom anywhere, and we quickly realized it had become a free concert from then on.

Somewhere along this timeline I dosed. (Just enough to feel it; like a quarter.)

Finally got to a viewpoint of the stage. We were all admiring the speaker towers, and the lights shinning down on the stage; reds and blues, and maybe Bird Song was playing.

We were in the second tier of people. The first tier was right in front of the stage, and then there was a parallel-to-the-stage break in people, because cables ran there, and they were like those "snakes" that bands use, of bundled wires, only much thicker… really heavy duty. So, don't mess around there.

It was nightfall now, and the stage was looking so cool in the distance, with the light show really making everything look so special.

We decided to get closer, and we could only just get a little ways into the first tier before intrusions on people already there resulted in glares of "there's no room, okay?" :-) But we were close enough.

When Tennessee Jed was played, it added a Europe '72 feel to everything, and at the time it was the album I had been listening to predominantly all Spring and Summer. So… very familiar with it.

Now, in years before, when listening to The Dead, Live Dead was the album to listen to if you wanted to see how far out they could take things.

So, when the Soundcheck Jam started, we were trying to figure out what song it was. I thought China Cat/Rider, but it didn't seem to fit. And then I thought Dark Star, but that didn't fit either. In my confusion, I decided that it was possibly The Other One, and because I wasn't extremely familiar with versions of that song, that was why I couldn't figure things out, figure what song the Soundcheck Jam was.

But, in trying to figure out what song they were playing, it really piqued my attention and concentration. Garcia had that Europe '72 tone on his guitar, and his notes were so effortless, and charismatic. I realized he could do whatever he wanted on guitar. And the blue light on him, and then red, sometimes purple, exalted his presence. It was like the mood of his playing matched the color of the lights on him at any particular time.

During the Jam, I realized Jerry was much, much, MUCH better than I had ever thought he was, on guitar.

And ridiculously, this being my first Dead Show, I thought they always played this way, played this good, because they were The Grateful Dead, they were the house band for Ken Keysey and the Acid Tests, and, well, they were the real deal, and that was why Bill Graham always wanted them to play for something epic. There was no substitute.