– a sonically brittle, high-speed version of the group’s stage act and songbook – on March 17th, 1967. That evening and again on the 18th, the Dead opened forat Winterland, performing much of that record’s material on the second night with more natural vigor and plenty of room for Garcia to go long and bright on lead guitar.
and drummer Bill Kreutzmann pushing and tugging at the beat – as Garcia affirms his nickname, “Captain Trips,” overhead.Time was an elastic concept on a Grateful Dead stage – a song ended only when every possibility embedded in the structure and set loose by the group’s improvising empathy was tested and fulfilled. Lesh thought enough of this night’s 31-minute stretching of
‘s “In the Midnight Hour” – most of it given to Garcia and organist Ron “Pigpen” McKernan’s hard-lovin’ vocal charm – to include it on his 1997 live anthology,. “Song” is a loose word here: Choruses and chord progressions are departure points. “Viola Lee Blues” is epic, rude hypnosis, twice the length of the version on. The accelerating instrumental break is a glorious connected fury – five voices racing in parallel but jamming as one.
, was further evidence that the Dead’s rapidly advancing idea of dance music on that album – a combination of acid, freed rhythm and no fear – was on its way., the Dead’s second album, may be the most authentic musical document of the San Francisco renaissance: a union of interior psychedelic exploration and truly liberated rock & roll; a continuous drive to light via mad studio alchemy and the Dead’s already proven specialty, live performance.
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