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Road Trips Vol. 2 No. 3—Wall of Sound Set

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Editorial reviews.

Dead chronicler Dennis McNally's liner notes to this Road Trip are a must-read, succinctly expounding upon how Bear's vision of creating a sound system free of distortion morphed into a 641-speaker monster (there's a great picture of it inside the booklet) that required three trucks to transport and five hours to set up, almost bankrupting the band and causing them to retire from the road for almost two years. But it was truly a singular sonic achievement, one that, as McNally puts it, 'allowed the band to go places they'd only dreamed of.' The two shows excerpted on this 2-CD set, 6/16/74 at the State Fairgrounds in Des Moines and 6/18/74 at Freedom Hall in Louisville, beautifully illustrate the point: with a PA this loud, the band could play softer, freeing them to mesh ever more subtly and intricately. The Des Moines 'Eyes of the World' is simply definitive, and the Louisville medley of 'Weather Report Suite'/'Jam'/'The Other One'/'It's a Sin Jam'/'Stella Blue' is one-of-a-kind. This Trip's a treasure'first time ever available at regular music retail! Disc One 1. China Cat Sunflower 2. I Know You Rider 3. The Race Is On 4. Eyes of the World 5. Big River 6. U.S. Blues 7. Playing in the Band Disc Two 1. Loose Lucy 2. Eyes of the World 3. China Doll 4. Weather Report Suite: Prelude Part 1 Let It Grow 5. Jam 6. The Other One 7. It’s a Sin Jam 8. Stella Blue

Product details

• Language ‏ : ‎ English
• Product Dimensions ‏ : ‎ 4.84 x 5.59 x 0.47 inches; 4.02 ounces
• Manufacturer ‏ : ‎ Real Gone Music
• Original Release Date ‏ : ‎ 2021
• Date First Available ‏ : ‎ March 19, 2021
• Label ‏ : ‎ Real Gone Music
• ASIN ‏ : ‎ B08YHXYKKG
• Number of discs ‏ : ‎ 1
• #1,220 in Classic Psychedelic Rock
• #45,587 in Rock (CDs & Vinyl)

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Grateful Dead Road Trips, Vol. 2, No. 3: Wall of Sound

Des moines - louisville, [june 16 & 18, 1974].

(Grateful Dead)

First Appeared in The Music Box , November 2009 , Volume 16, #11

Written by John Metzger

Wed November 18, 2009, 06:30 AM CST

The problem with pursuing a path of perfectionism is that it sometimes leads to impractical solutions. The Beatles had the wherewithal to know when to call it quits as a touring outfit. By contrast, the Grateful Dead had a tendency to plow ahead without any regard for the consequences of its actions. To make matters worse, the outfit’s fiercely independent streak often was at odds with any semblance of fiscal responsibility. While, for example, it was in the midst of forming its own record label in an attempt to maintain complete control over its studio output, the Grateful Dead also was sinking huge piles of cash into the development of the Wall of Sound. The imposing mountain of speakers made its debut in 1974, and although it was a state-of-the-art production, it also ultimately proved to be costly to operate and challenging to move. Not surprisingly, it didn’t survive the year, though it at least helped to spark the next stage of the ensemble’s development.

The seventh installment of the Road Trips series takes aim at the heart of the Grateful Dead’s sonic experiments beneath the towering, industrial structure of its Wall of Sound. Drawing material from a pair of concerts held on June 16 and 18 in Des Moines, Iowa and Louisville, Kentucky, respectively, the collection emphasizes the tightly knit instrumental interplay of the band’s increasingly jazz-centered explorations. On song after song, the Grateful Dead embraced the relaxed, easy-going swing of Bill Kreutzmann’s steady cadences. Riding upon the waves formed from each track’s script of notes and chord progressions, the collective allowed itself to be carried away by the music.

One of the most intriguing facets about the Grateful Dead’s concerts in 1974 is that although some patterns had begun to emerge within its work, these repetitions and reiterations had not yet become solidified into routine templates for its shows. In addition, any song could still appear at any time within a given performance, and this further enhanced the riskiness of the outfit’s nightly gambits. Sometimes, its shows were surprisingly seamless. At other moments, though, such as those featured on Road Trips, Vol. 2, No. 3 , the Grateful Dead employed juxtapositions that ventured to such surprising locales that it had no choice but to stop, take a deep breath, and regroup.

In Des Moines, for example, the Grateful Dead put some serious distance between Eyes of the World and the song’s studio counterpart. Although the tune opened with its familiar passages, all light and breezy, it soon spiraled outward. Every time Phil Lesh unleashed a writhing, wriggling bass figure, Jerry Garcia would counter the motion by painting serpentine ellipses in the air. Eventually, Eyes of the World descended into a jam that served as a precursor to the Grateful Dead’s work on Blues for Allah . By the time that it concluded with the surprising eruption of Johnny Cash’s Big River , the composition bore little resemblance to where it had begun. These boundary-less diversions leant a bit of a herky-jerky ambience to the Grateful Dead’s sets, but in the end, it always seemed to come out all right. What the shows lacked in cohesion, they gained in intensity.

The members of the Grateful Dead had always shared an admiration for the exploits of Miles Davis , John Coltrane , and Ornette Coleman . In 1974, as jazz-fusion began to attract an ever-widening audience, the outfit fully embraced the genre, using it as a foundation for its often open-ended explorations. Davis’ work in particular — from Bitches Brew to On the Corner — plays a huge role in the music birthed by the Grateful Dead. Many of the songs on Road Trips, Vol. 2, No. 3 — including Loose Lucy , U.S. Blues , and Deal — boast the burbling, rhythmic grooves that Davis conjured as he crossed jazz with R&B. Within minutes, the Grateful Dead turned Playing in the Band inside-out. Once the tune’s melodic tethers were severed, the collective proceeded to rotate the broken components in a kaleidoscopic fashion, occasionally revealing its origins and sometimes foreshadowing its future.

In the process of leaning more heavily upon jazz-oriented concepts, the Grateful Dead obtained a stronger grasp of its output. The band not only learned how to shift the mood of a song, but it also mastered the art of nuance. Morning Dew , for example, evolved from something hushed and somber into a prayer of optimism before it fell into a period of melancholy reflection. Elsewhere, the furious assault of Truckin’ pushed so hard that it seemed like an unstoppable force, and sure enough, during its final jam, the band blew apart the structure of the tune. The sounds of keyboards, drums, bass, and rhythm guitar combined to create a funky undercurrent that swelled to envelop Garcia’s screaming lead. When the mayhem finally faded into a slow, blues-inflected groove — which in turn soon mutated into the weather-beaten, gospel-soul refrains of Wharf Rat — the music echoed the sighs of relief that likely erupted as thousands of tie-dye-clad fans received a respite from their fits of spastic dancing.

Of Further Interest...

Grateful Dead - Road Trips, Vol. 1, No. 2: October '77

Grateful Dead - Road Trips, Vol. 1, No. 3: Summer '71

Grateful Dead - Road Trips, Vol. 1, No. 4: From Egypt with Love

Grateful Dead - Road Trips, Vol. 2, No. 1: MSG, September '90

Grateful Dead - Road Trips, Vol. 2, No. 2: Carousel, February 1968

Road Trips, Vol. 2, No. 3: Wall of Sound is NOT available from Amazon. To order, please visit the Grateful Dead Site !

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Road Trips Vol. 2 No. 3—Wall Of Sound (2Cd)

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Product description.

Dead chronicler Dennis McNally’s liner notes to this Road Trip are a must-read, succinctly expounding upon how Bear’s vision of creating a sound system free of distortion morphed into a 641-speaker monster (there’s a great picture of it inside the booklet) that required three trucks to transport and five hours to set up, almost bankrupting the band and causing them to retire from the road for almost two years. But it was truly a singular sonic achievement, one that, as McNally puts it, “allowed the band to go places they’d only dreamed of.” The two shows excerpted on this 2-CD set, 6/16/74 at the State Fairgrounds in Des Moines and 6/18/74 at Freedom Hall in Louisville, beautifully illustrate the point: with a PA this loud, the band could play softer, freeing them to mesh ever more subtly and intricately. The Des Moines “Eyes of the World” is simply definitive, and the Louisville medley of “Weather Report Suite”/”Jam”/”The Other One”/”It’s a Sin Jam”/”Stella Blue” is one-of-a-kind. This Trip’s a treasure…first time ever available at regular music retail! Disc One 1. China Cat Sunflower 2. I Know You Rider 3. The Race Is On 4. Eyes of the World 5. Big River 6. U.S. Blues 7. Playing in the Band Disc Two 1. Loose Lucy 2. Eyes of the World 3. China Doll 4. Weather Report Suite: Prelude Part 1 Let It Grow 5. Jam 6. The Other One 7. It’s a Sin Jam 8. Stella Blue

Product details

• Product Dimensions ‏ : ‎ 12.29 x 14.2 x 1.19 cm; 113.97 g
• Manufacturer ‏ : ‎ REAL GONE MUSIC
• Manufacturer reference ‏ : ‎ EVP-848064012085
• Original Release Date ‏ : ‎ 2021
• Label ‏ : ‎ REAL GONE MUSIC
• ASIN ‏ : ‎ B08YHXYKKG
• Number of discs ‏ : ‎ 1

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Home » Jazz Articles » Album Review » Grateful Dead: Road Trips Volume 2, Number 3

Grateful Dead: Road Trips Volume 2, Number 3

Track Listing

CD1: Recorded live at State Fairgrounds, Des Moines, Iowa, 6/16/74: China Cat Sunflower; I Know You Rider; The Race Is On; Eyes Of The World> Big River; U.S. Blues; Playing In The Band. CD2: Recorded live at Freedom Hall, Louisville, Kentucky, 6/18/74: Loose Lucy; Eyes Of The World>China Doll; Weather Report Suite>Jam> Other One>It's A Sin Jam>Stella Blue. CD3 (Bonus Disc): Morning Dew; Around and Around; Deal; Greatest Story Ever Told; Truckin'>Nobody's Jam>Wharf Rat; Going Down the Road Feeling Bad; Sugar Magnolia.

Grateful Dead

Jerry Garcia: lead guitar, vocals; Bob Weir: rhythm guitar, vocals; Phil Lesh: electric bass, vocals; Bill Kreutzmann: drums, Keith Godchaux: keyboards; Donna Jean Godchaux: vocals.

Album information

Title: Road Trips Volume 2, Number 3 | Year Released: 2009 | Record Label: Self Produced

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Published: 2009/07/27 by Jesse Jarnow

Dead.net The irony of the latest volume of the Grateful Dead’s Road Trips series, Vol. 2, No. 3: Wall of Sound, is that—despite its implication of MASSIVE VOLUME—it’s basically ambient music. By the spring of 1974, Vietnam was already lost, Richard Nixon was almost gone, and an oil crisis was at hand, but the Dead had already won, at least in the sense that they were consistently playing venues big enough to hold something called the Wall of Sound, and probably could have made a comfortable living doing so had they not had said Wall. Instead, they worked themselves into the ground, trying to pay for technology that would, in a sense, create immediacy at a large level. Loudness as intimacy, actual intimacy itself being in very scarce quantity. It is instructive that historian (and once/future Dead publicist) Dennis McNally says nothing about the music on Vol. 2, No. 3’ in his vivid liner notes. Despite the power—McNally points out that the stage volume was only three decibels quieter than the sound of a Navy jet taking off—the Dead themselves play very quietly. And really not very tightly. Their core instrumental lineup had been stable for almost three years, the longest band they’d managed to sustain at any point in their career up to that point. Perhaps, to the audiences in question—at the State Fairgrounds in Des Moines and Freedom Hall in Louisville—the band sounded like Thor’s polyphonic hammer stomping rainbows of love. But, on this double-disc-plus-preorder-internet-bonus-thingee, they sound like a five-piece rock band with occasional backing vocalist. Indeed, musically speaking, the Dead had always been loud, especially during the years as double-drummer psychedelic specialists. But, as the band got bigger, the music they made seemed to get smaller. The stuff they favored in 1974—each disc here contains a version the quiet, jazzy "Eyes of the World"—was lying further and further back. As were the Dead themselves. Sloppiness abounds, even on some of the band’s most played songs. On the first "Eyes," they nearly fall apart during the weirdly timed instrumental breaks at the end. On "I Know You Rider," their vocal breakdown is pretty much just that. It is music that begins to edge into the background, in the best possible way. In places, like the "Loose Lucy" that opens disc two (from the middle of June 22nd’s first set), there is almost no urgency, just music to soundtrack the experience of being a head, of going about one’s business in an unheady world. And that’s a good function for it. When the band does delve into music that is difficult, either for length or sonority, it is delightful. And—in the case of the June 26th ‘Eyes’—some would argue canonical, as well. The band, especially Jerry Garcia and Phil Lesh, dodge each other playfully through it’s nearly 15-minute duration. It is artful dodging, though, the sense of the unknown all but eliminated except for a few moments on each disc — a deep space freak-out on ‘The Other One’ (is that Ned Lagin in there?), a ‘Mind Left Body’ prelude to ‘Wharf Rat.’ Mostly, they know exactly the destination: the next show, the Oroboros’ next lunge, and the music is soundtrack for that, too.

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Road Trips is something a little different. We want to plug in a few more pieces of the Grateful Dead puzzle by putting the spotlight on different tours and series of shows that have been neglected through the years.

Every Road Trips release will come with a beautifully designed booklet containing an essay about how the music on the discs fits into the Dead’s long history, plus many rare and never-before-seen photographs. Plus rarities from the deepest corners of the vault, multitrack releases, box sets, DVDs, downloads and who-knows-what-else.

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Road Trips Volume 3 Number 2

• Edit source

Road Trips Volume 3 Number 2 is two-CD live album by the American rock band the Grateful Dead . The tenth in their "Road Trips" series of albums, it was released on February 24, 2010. It contains the complete concert recorded on November 15, 1971, at Austin Memorial Auditorium in Austin, Texas . This concert was the 16th concert after Keith Godchaux joined the Grateful Dead on piano. Ron "Pigpen" McKernan did not perform at this or any of the October and November, 1971 concerts due to poor health.

• 1.1 Disc One
• 1.2 Disc Two
• 2.1 Grateful Dead
• 2.2 Production

Track listing [ ]

Disc one [ ].

• " Truckin' " ( Jerry Garcia , Phil Lesh , Bob Weir , Robert Hunter ) – 9:21
• " Bertha " (Garcia, Hunter) – 6:03
• " Playing in the Band " (Weir, Hunter) – 6:34
• "Deal" (Garcia, Hunter) – 5:13
• " Jack Straw " (Weir, Hunter) – 5:32
• "Loser" (Garcia, Hunter) – 6:41
• "Beat It on Down the Line" ( Jesse Fuller ) – 3:41
• " Dark Star " > (Garcia, Hunter) – 12:49
• " El Paso " ( Marty Robbins ) – 4:55
• "Dark Star" (Garcia, Hunter) – 7:45
• " Casey Jones " (Hunter, Garcia) – 5:52
• " One More Saturday Night " (Weir) – 5:01

Disc Two [ ]

Second set:

• " Me and My Uncle " ( John Phillips ) – 3:35
• "Ramble On Rose" (Garcia, Hunter) – 6:42
• " Mexicali Blues " (Weir, John Perry Barlow ) – 3:42
• "Brokedown Palace" (Garcia, Hunter) – 5:51
• " Me and Bobby McGee " ( Kris Kristofferson , Fred Foster ) – 6:27
• "Cumberland Blues" (Garcia, Lesh, Hunter) – 6:35
• " Sugar Magnolia " (Weir, Hunter) – 7:37
• " You Win Again " ( Hank Williams ) – 2:43
• " Not Fade Away " > ( Buddy Holly , Norman Petty ) – 5:56
• "Jam" > – 6:34
• "Goin' Down the Road Feeling Bad" > (traditional, arranged by Grateful Dead) – 8:28
• "Not Fade Away" (Holly, Petty) – 3:38
• " Johnny B. Goode " ( Chuck Berry ) – 4:26

Personnel [ ]

Grateful dead [ ].

• Jerry Garcia – lead guitar , vocals
• Keith Godchaux – piano
• Bill Kreutzmann – drums
• Phil Lesh – electric bass , vocals
• Bob Weir – rhythm guitar , vocals

Production [ ]

• Produced by Grateful Dead
• Produced for release by David Lemieux & Blair Jackson
• Recording by Rex Jackson
• CD Mastering by Jeffrey Norman at Mockingbird Mastering, Petaluma, CA
• Cover Art by Scott McDougall
• Back Cover Photo by Bob Seidemann
• Interior Photos by Mary Ann Mayer
• Package Design by Steve Vance
• 1 Phil Lesh
• 2 The Grateful Dead
• 3 Grateful Dead From The Mars Hotel

Zhukovskiy in Moscow Oblast Destination Guide Russia

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Located at 55.6, 38.15 (Lat. / Lng.), about 1 miles away. Wikipedia Article Urban-type settlements in Moscow Oblast

Ramenskoye Airport

Ramenskoye Airport, also known as Ramenskoye Airfield or Zhukovsky Airfield, is an airport in Moscow Oblast, Russia located 40 km southeast of Moscow and near the town of Ramenskoye. It serves as a major aircraft testing facility since the Cold War years with the majority of the major Russian OKBs having facilities on the airfield. It is also now used by the Ministry of Emergency Situations and cargo transportation. This airfield was also used as a test site for the Soviet Buran Spacecraft.

Located at 55.5533, 38.1517 (Lat. / Lng.), about 3 miles away. Wikipedia Article Soviet Air Force bases, Russian Air Force bases, Airports built in the Soviet Union, Airports in Moscow Oblast

Gromov Flight Research Institute

M.  M.  Gromov Flight Research Institute or LII for short is an important Russian aircraft test base, scientific research center located in Zhukovsky, 40 km south-east of Moscow. It has one of the longest runways in Europe at 5,403 m. LII's concrete surfacing covers the area of 2.5 million square meters. LII was used as the backup landing site for the Shuttle Buran test program and also as a test base for a Buran's aerodynamic prototypes.

Located at 55.5582, 38.1465 (Lat. / Lng.), about 3 miles away. Wikipedia Article Russian Air Force bases, Airports in Moscow Oblast, Airports built in the Soviet Union, Science and technology in the Soviet Union

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