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DISCID=5a128607
DTITLE=Grateful Dead / Fillmore West 1969 - Disc 3 of 3
DYEAR=1969
DGENRE=Rock
TTITLE0=That's It For The Other One
TTITLE1=Alligator -->
TTITLE2=Drums -->
TTITLE3=Jam -->
TTITLE4=Caution (Do Not Stop On Tracks) -->
TTITLE5=Feedback -->
TTITLE6=We Bid You Goodnight
EXTD=Fillmore West 1969 - Disc 3 of 3\n2005 Rhino Entertainment Compan
EXTD=y\n\nOriginally Released November 1, 2005\n\nAMG EXPERT REVIEW: T
EXTD=his is a triple-disc distillation of the limited-edition ten-CD F
EXTD=illmore West 1969: The Complete Recordings box set. The material 
EXTD=was taken from the Grateful Dead's run of eight shows over four n
EXTD=ights (February 27 through March 2, 1969) at the Fillmore West in
EXTD= San Francisco. These were the same concerts that yielded most of
EXTD= the definitive Live/Dead (1969). By the spring of 1969, the ever
EXTD=-evolving personnel had grown to include Mickey Hart (percussion)
EXTD= -- whose contributions began in September of 1967 -- and six mon
EXTD=ths later, Tom Constanten (keyboards). They joined co-founders Je
EXTD=rry Garcia (guitar/vocals), Ron "Pigpen" McKernan (vocals/organ/h
EXTD=armonica), Bill Kreutzmann (percussion), Phil Lesh (bass/vocals),
EXTD= and Bob Weir (guitar/vocals). Collectively they created an incen
EXTD=diary ensemble embracing R&B with the same passion and sense of i
EXTD=ntrepid experimentation as they did their own unique imprint of s
EXTD=onic psychedelia. And nowhere is that seemingly odd amalgam as ev
EXTD=ident as it is here. According to Dennis McNally's liner essay, L
EXTD=ive/Dead was "the first live 16-track album ever made." Three and
EXTD= a half decades later those tapes were revisited and revitalized 
EXTD=by longtime Grateful Dead producer Jeffrey Norman. He has done a 
EXTD=yeoman's effort, drawing out the warmth and subtle interplay occu
EXTD=rring deep within not only the lengthy acidic "That's It for the 
EXTD=Other One" suite, but the exhaustively jammed covers of "Good Mor
EXTD=ning Little School Girl," "Turn on Your Lovelight," and "Morning 
EXTD=Dew" as well. Somewhat darker yet no less intense is the edgy upd
EXTD=ate of blues staple "King Bee" and the sanctified "Death Don't Ha
EXTD=ve No Mercy." The latter was one of several Rev. Gary Davis compo
EXTD=sitions that the Dead worked into their repertoire over the years
EXTD=. Although it hadn't even been released at the time, Aoxomoxoa (1
EXTD=969) produced a sizable number of selections here. Notable among 
EXTD=them are "Doin' That Rag," "Cosmic Charlie," "Saint Stephen," and
EXTD= "Dupree's Diamond Blues" -- a tune twisted out of the traditiona
EXTD=l ballad "Betty & Dupree." Another title that surfaced on Aoxomox
EXTD=oa was the stylish, acoustic-based "Mountains of the Moon." The c
EXTD=ombo took full advantage of the song's meditative ending to segue
EXTD= into the lysergic-influenced exploratory anthem "Dark Star." As 
EXTD=alluded to above, the audio remastering is virtually perfect. One
EXTD= major caveat can be heard during the nearly half-hour instrument
EXTD=al "Jam" on disc three. According to Norman, the master tape ran 
EXTD=out and "the only thing we had as a patch was a cassette...mix fr
EXTD=om the show. So when I edit in the cassette piece...the end resul
EXTD=t is like a big ol' audio band-aid." While that isn't the sole pl
EXTD=ace that similar problems had to be addressed, it is the most not
EXTD=iceable. That said, the drastic change in sound quality is a smal
EXTD=l price to pay in order to hear the performance in its entirety. 
EXTD= -- Lindsay Planer\n\n\nAMG EXPERT REVIEW: (''The Complete Record
EXTD=ings'' 10 CD Box) Few concert runs (read: several shows in the sa
EXTD=me venue) are as highly lauded by Grateful Dead enthusiasts as Fe
EXTD=bruary 27 through March 2, 1969, at the Fillmore West in San Fran
EXTD=cisco. Although the title Fillmore West 1969: The Complete Record
EXTD=ings is misleading -- as they played there upward of two dozen ti
EXTD=mes during the year -- practically every second of their eight-se
EXTD=t, four-night stand is captured on this ten-CD box. The concurren
EXTD=t lineup included founders Ron "Pigpen" McKernan (vocals/organ/ha
EXTD=rmonica), Jerry Garcia (guitar/vocals), Bob Weir (guitar/vocals),
EXTD= Phil Lesh (bass/vocals), and Bill Kreutzmann (percussion). In Se
EXTD=ptember of 1967 that quintet was augmented by Mickey Hart (percus
EXTD=sion) and the following March Tom Constanten (keyboards) joined t
EXTD=o complete the incarnation heard here. As group historian Dennis 
EXTD=McNally notes in his liner essay, the music was being documented 
EXTD=on "Prototype #2" -- the second 16-track machine made by the Ampe
EXTD=x company. The recordings ultimately produced the lion's share of
EXTD= Live/Dead (1969), which McNally points out was "the first live 1
EXTD=6-track album ever made." Indeed the two-LP collection redefined 
EXTD=the Dead's role as sonic rangers who roamed the great wide psyche
EXTD=delic open. For the growing global audience of Deadheads, it offe
EXTD=red a sampling of the Grateful Dead's practically indescribable a
EXTD=nd ever-evolving brand of aural alchemy. While no specific set li
EXTD=st is adhered to, the songs can be loosely categorized with repre
EXTD=sentations from the Grateful Dead's ever-expanding songbook with 
EXTD=McKernan's R&B standards "Turn on Your Lovelight" and "King Bee."
EXTD= There are also a handful of selections from their previous three
EXTD= LPs, such as "Morning Dew" and "Good Morning Little Schoolgirl,"
EXTD= off of their 1967 self-titled debut. Anthem of the Sun (1968) yi
EXTD=elds the extended "That's It for the Other One" suite -- which gl
EXTD=ides gently into a sublime reading of "New Potato Caboose" on Mar
EXTD=ch 1 -- or the fiery McKernan-led medley of "Alligator" linked to
EXTD= the acidic blues-fuelled "Caution (Do Not Stop on Tracks)." The 
EXTD=final batch comes from the then-yet-to-be-issued Aoxomoxoa (1969)
EXTD= and is highlighted by the more compact numbers "Doin' That Rag,"
EXTD= "Cosmic Charlie," the folk-based "Dupree's Diamond Blues," "Sain
EXTD=t Stephen," and the haunting, baroque "Mountains of the Moon." Th
EXTD=e latter is featured in an acoustic setting, and on February 27 a
EXTD=nd March 1 it also serves up the ideal disposition for the center
EXTD=piece original "Dark Star." At the very heart of what made the Gr
EXTD=ateful Dead an anomaly in rock & roll was their ability to improv
EXTD=ise and interact in order to make each and every experience diffe
EXTD=rent from the last, or the next. Over the course of the Fillmore 
EXTD=West 1969: The Complete Recordings are nine and a half hours of p
EXTD=roof. As a sidebar, those interested in obtaining one of the 10,0
EXTD=00 strictly limited editions should be prepared to scour online a
EXTD=uction sites and other similar outlets, as the anthology sold out
EXTD= within weeks. Curious parties might find the Fillmore West 1969 
EXTD=three-disc distillation an adequate substitute. However, earnest 
EXTD=Deadheads should take whatever measures necessary to obtain this 
EXTD=package.  -- Lindsay Planer\n\n\nAmazon.com Editorial Review\nThe
EXTD= 1969 double album Live/Dead holds a special place in the Deadhea
EXTD=d universe; indeed, many band members and their inner circle cons
EXTD=ider it to be the band's best overall collection as well. This ex
EXTD=panded, three-CD edition is culled from the same February/March '
EXTD=69 shows at the Dead's de facto live home, San Francisco's Fillmo
EXTD=re West. What's documented here are not only some of the greatest
EXTD= performances of the band's early era, but the still-evolving tem
EXTD=plate for much of the band's later flights of improvisation. The 
EXTD=first, blues-dominated disc pays tribute to a band that a couple 
EXTD=years earlier had been but an ambitious bar covers ban! d, while 
EXTD=the second chronicles the Dead's expansive "Dark Star/St. Stephen
EXTD=/The Eleven" triptych wed to a cover of the Rev. Gary Davis' "Dea
EXTD=th Don't Have No Mercy," 2/28/69 performances that turn on the fr
EXTD=eeform interplay that would become their trademark for decades to
EXTD= follow. The set's final disc is highlighted by a vigorous, nearl
EXTD=y hour-long workout that jams its way through the band's early "A
EXTD=lligator," "Caution" and the obligatory drum break to the traditi
EXTD=onal closer, "We Bid You Goodnight." Said to be the first 16-trac
EXTD=k live recording, the epochal performances here are burnished to 
EXTD=near sonic perfection via HDCD mastering, a heady, if ironic wedd
EXTD=ing of technology and the band's rootsy, musical humanity. --Jerr
EXTD=y McCulley \n\n\nAMAZON.COM CUSTOMER REVIEW\nFillmore West 1969, 
EXTD=October 13, 2006\nReviewer: Dark Star-The Other One "gdcds"\nPret
EXTD=ty good performances. I don't like the fact that since 2001, the 
EXTD=idea seems to be to erasing Bob's voice from the last 4 to 5 minu
EXTD=tes of Lovelight on all the multitrack releases. Disc 2 starts wi
EXTD=th a cool pairing of Dupree's into Mountains Of The Moon. The Dar
EXTD=k Star that follows is very good and it was recorded the night af
EXTD=ter the Live Dead version as is the following Saint Stephen. The 
EXTD=Eleven is always nice to hear and this is no exception. Death Don
EXTD='t Have No Mercy is strong also. The That's It For The Other One 
EXTD=that starts off the third disc is powerful. The Alligator/Caution
EXTD= jam is one of the best\n\n\n\nAMAZON.COM CUSTOMER REVIEW\nSnapsh
EXTD=ot from their peak years, September 20, 2006\nReviewer: Timothy G
EXTD=. Niland (New Jersey, USA)\n\nThis three-disc set tracks the Grat
EXTD=eful Dead's performances during the height of their early power. 
EXTD=The material collected here had been previously bootlegged by the
EXTD= Dead's legion of collecting fans, but this official release cher
EXTD=ry picks the finest performances and adds lengthy liner notes and
EXTD= many color photographs to create a nice package. While the music
EXTD= contained herein demonstrates the breadth of the bands music, ce
EXTD=rtain things do stand out. For me it was Ron "Pigpen" McKernan le
EXTD=nding the band some bluesy credibility that they may have otherwi
EXTD=se lacked. Pigpen plays swirling organ and some strong harmonica 
EXTD=throughout the music, but is heard to best effect on the blues so
EXTD=ngs he took lead vocals on. \n\nHe leads the band through an abso
EXTD=lutely charging version of Bobby Bland's "Turn on Your Lovelight"
EXTD= and sings with great authority on Muddy Waters' "King Bee" and J
EXTD=ohn Lee "Sonny Boy" Williamson's "Good Morning Little Schoolgirl.
EXTD=" The rest of the band is certainly not to be undone, as the musi
EXTD=c alternates between spacey on "Mountains on the Moon," "Dark Sta
EXTD=r" and blasting rock and roll on tracks like "Cosmic Charlie" and
EXTD= the go-for-broke final concert ending medley jam. In a sense thi
EXTD=s music would be the high water mark of the band's early period, 
EXTD=with a shift to acoustic instruments and the first of many person
EXTD=nel additions and subtractions on the way. Still, this is a great
EXTD= snapshot of one of the finest live-performance bands in rock and
EXTD= roll history.\n\n\n\nAMAZON.COM CUSTOMER REVIEW\nFor die hard fa
EXTD=ns only, August 14, 2006\nReviewer: Nathaniel T. Parsons "ntucker
EXTD=@earthlink.net" (Los Angeles, CA United States)\n\nOther reviewer
EXTD=s have said it. This is very good stuff, but it shows that whoeve
EXTD=r put together Live/Dead really got it right. Die hard fans and d
EXTD=ead collectors will love this. But since I don't quite rise to th
EXTD=at level, I was a bit disappointed. Sure there are places were th
EXTD=e band is off, but what this album really shows is what a mismatc
EXTD=h Tom Constanten (on keyboards) was with this band. The five core
EXTD= members are starting to soar into new realms and Constanten's so
EXTD=ul-less keyboard is often front and center in these recordings, k
EXTD=eeping the group's left foot firmly nailed to the ground. In Live
EXTD=/Dead his damage was minimized in the mix somehow. \n\n\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nNot Definitive, July 9, 2006\nReviewer: Sco
EXTD=tt McFarland (Manassas, VA United States)\nI think this is for co
EXTD=mmitted fans mostly. Anyone not into the Dead yet is probably bet
EXTD=ter off sticking with "Live/Dead", which, I think successfully to
EXTD=ok the cream off the top of this material. \n\nNothing here's def
EXTD=initive. Not "Dark Star". Not the mind-bending "Alligator-Drums-C
EXTD=aution" sequence, which is better on the "Anthem of the Sun" bonu
EXTD=s tracks as well as the fantastic lengthy "Caution" on DP16. Not 
EXTD="The Other One" which sounds fantastic in numerous places. Not "L
EXTD=ovelight" which has less energy here than the version used on "Li
EXTD=ve/Dead". This is nice to hear but less so than a lot of other av
EXTD=ailable Grateful Dead in the remastered albums and the Dick's Pic
EXTD=ks series. This mainly tells us all "whoever compiled Live/Dead, 
EXTD=they did it just right and maximized the use of 2 LP sides". \n\n
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nThe Rest of "Live/Dead", November
EXTD= 12, 2005\nReviewer: Thomas D. Ryan "American Hit Network" (New Y
EXTD=ork)\n\nIf you're not already a fan of the Grateful Dead, then mo
EXTD=ve on; there's nothing here for you to see (or hear). This 3-CD s
EXTD=et will drive you just as crazy as any of the other 3,687 or so '
EXTD=Live Dead' collections. If, on the other hand, you are a 'Deadhea
EXTD=d' and buy into their marketing concept of eventually releasing v
EXTD=irtually every recorded performance, then you have just stumbled 
EXTD=upon the Rosetta Stone of 'Live Dead' recordings. \nThe first 'of
EXTD=ficially' released live recording of the Grateful Dead appeared i
EXTD=n 1969, entitled "Live/Dead". To this day, a large percentage of 
EXTD=fans consider this to be the band's best album, their shining mom
EXTD=ent. 'Fillmore West 1969' is compiled from the same set of shows 
EXTD=that were excerpted for "Live/Dead". It is special for a number o
EXTD=f reasons, not the least of which is that it captures the band ju
EXTD=st as they are discovering their own ability to explore the outer
EXTD= regions of their spontaneous compositional abilities. During a f
EXTD=our-night run from February 27- March 2, 1969, in San Francisco, 
EXTD=the Grateful Dead were the perfect band in the perfect place at t
EXTD=he perfect time. \nThe 'Live/Dead" album was a two disk set, appr
EXTD=oximately eighty minutes in length. At the time, this was fairly 
EXTD=lavish, but by necessity, it represented only a fraction of the m
EXTD=usic from this historic stand. "Fillmore West" is compiled from t
EXTD=he best parts of those shows that did not 'make the cut' for "Liv
EXTD=e Dead". The 3-CD package generously triples the playing time of 
EXTD=the original album, and structures itself as if it were one incre
EXTD=dibly long, exhaustive set. A 20-minute version of "Dark Star" is
EXTD= the centerpiece, and segues beautifully into "St. Stephen," foll
EXTD=owed by "The Eleven," all of which capture the rich, exploratory 
EXTD=nature of a band that was at the nascent crest of its powers. A n
EXTD=ear-perfect 23-minute version of "That's It For the Other One" pr
EXTD=ecedes a 25-minute track simply entitled "Jam". The packaging is 
EXTD=a lavish, hard-covered booklet that includes a lengthy, informati
EXTD=ve essay, and a multitude of excellent photographs. If you don't 
EXTD=get the Dead by now, then it's safe to assume that it's never goi
EXTD=ng to happen. If you're a fan, though, then this is one live coll
EXTD=ection that you simply must own. A Tom Ryan\n\n\n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nhow much are leftovers worth to you?, November 6, 2
EXTD=005\nReviewer: grew up in the 1960s (usa)\nleftovers of the great
EXTD=est live album in the history of rock that is, "LIVE/DEAD" the gr
EXTD=ateful dead's masterpiece. these recordings are the best of the r
EXTD=emaining (source) tapes used in making "live/dead". they are not 
EXTD=the same versions of the songs as on "live/dead". they are altern
EXTD=ate, almost as good versions (except dark star which is much wors
EXTD=e) recorded the next night. morning dew, mountains of the moon, t
EXTD=hat's it for the other one, alligator, jam and caution woulda mad
EXTD=e a great 3rd (and 4th) record for the original 2 record album. n
EXTD=aturally, buy "live/dead" before you buy this. it's better and ch
EXTD=eaper, but this is still VERY, VERY GOOD. 4 and 1/2 stars. \n\n\n
EXTD=Half.com Details \nProducer: David Lemieux, Jeff Norman \n\nAlbum
EXTD= Notes\nGrateful Dead: Jerry Garcia, Bob Weir (vocals, guitar); R
EXTD=on "Pigpen" McKernan (vocals, harmonica, organ, percussion); Phil
EXTD= Lesh (vocals, bass guitar); Tom Constanten (organ); Mickey Hart,
EXTD= Bill Kreutzmann (drums).\nRecording information: Fillmore West, 
EXTD=San Francisco, California (02/27/1969 - 03/02/1969); Club Front, 
EXTD=Novato, California.\nAlthough many would argue that the Grateful 
EXTD=Dead's groundbreaking LIVE DEAD album, the first-ever 16-track co
EXTD=ncert recording, couldn't be improved upon, the Rhino label boldl
EXTD=y challenges that notion with FILLMORE WEST 1969. This three-disc
EXTD= set expands on the beloved original collection, presenting those
EXTD= legendary performances alongside a slew of additional tunes from
EXTD= the Dead's famous stint at San Francisco's Fillmore West in Febr
EXTD=uary and March of '69.\nThe first disc is the most blues-heavy of
EXTD= the three, with the Dead offering up a surprisingly straightforw
EXTD=ard version of "I'm a King Bee" and a spacious rendition of "Turn
EXTD= on Your Lovelight." Much of LIVE DEAD is drawn from what appears
EXTD= on the second disc here. It's the main event of FILLMORE WEST 19
EXTD=69, and features the glorious psych workouts of "Dark Star," "St.
EXTD= Stephen," and "The Eleven," which stand as a favorite musical tr
EXTD=iptych in the Dead canon and showcase Jerry Garcia, Bob Weir, Ron
EXTD= "Pigpen" McKernan, and company in thrillingly adventurous form. 
EXTD=Rounding out this formidable live outing, the third disc finds th
EXTD=e ensemble launching into the fierce "That's It for the Other One
EXTD=," and getting definitively heady on the proto "space" jams "Drum
EXTD=s," "Jam," and "Feedback." For any true Deadhead, this remarkable
EXTD= set is essential.\n\nIndustry Reviews\n...[I]t's really, really 
EXTD=awesome....[G]ritty, hard-edged psychedelic rock. - Grade: A-\n\n
EXTD=\n4 stars out of 5 -- [T[he Dead were never more cosmically armed
EXTD= and, yes, dangerous, than at this pivotal juncture of their care
EXTD=er.
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