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DISCID=920f7a0b
DTITLE=Grateful Dead / Three From The Vault - Disc 1 of 2
DYEAR=1971
DGENRE=
TTITLE0=Two Ditties: The Merry-Go-Round Broke Down + Spring Song
TTITLE1=Truckin'
TTITLE2=Loser
TTITLE3=Cumberland Blues
TTITLE4=Hurts Me Too
TTITLE5=Bertha
TTITLE6=Playing In The Band
TTITLE7=Dark Hollow
TTITLE8=Smokestack Lightnin'
TTITLE9=China Cat Sunflower
TTITLE10=I Know You Rider
EXTD=Three From The Vault - Disc 1 of 2\n2007 Rhino Entertainmen Compa
EXTD=ny\n\nOriginally Released June 26, 2007\n\nAMG EXPERT REVIEW: The
EXTD= Grateful Dead were literally at a crossroads when they took the 
EXTD=stage at the Capitol Theatre in Port Chester, NY, on February 19,
EXTD= 1971. The previous night, the first of six shows at the venue wo
EXTD=uld, for a number of reasons, be the last for drummer Mickey Hart
EXTD= for more than three years (a primary reason being that Lenny Har
EXTD=t, Mickey's father and the band's manager in 1969-1970, had absco
EXTD=nded with a large chunk of their bank account). Suddenly, for the
EXTD= first time since late 1967 when Hart joined, the Grateful Dead w
EXTD=ere back to their original five-piece lineup: Jerry Garcia and Bo
EXTD=b Weir (guitars), Phil Lesh (bass), Ron "Pigpen" McKernan (organ 
EXTD=and harmonica), and Bill Kreutzmann (the other drummer). They had
EXTD= already shed a second keyboardist, Tom Constanten, in early 1970
EXTD= and now this new downsizing allowed the Dead to return to the ha
EXTD=rder, more primal rocking sound of their acidic early days. (They
EXTD= would add a new keyboardist, Keith Godchaux, later in 1971, thus
EXTD= altering the dynamic again.) There were differences from 1967, o
EXTD=f course: the more than two years of the first Hart era, a period
EXTD= of prolific touring (nearly 50 shows in the New York tri-state a
EXTD=rea alone during 1970), were highly experimental ones that had ta
EXTD=ken the band to stellar heights and new complexities; their music
EXTD=ianship, both individually and as a unit, had matured and refined
EXTD= greatly. In addition, their musical focus had shifted a number o
EXTD=f times in those couple of years, with 1970 simultaneously respon
EXTD=sible for some of the band's most magnificent electric concerts e
EXTD=ver, but also the introduction of acoustic music that resulted in
EXTD= the landmark albums Workingman's Dead and American Beauty, consi
EXTD=dered by many to be their best. So the Dead who landed at the Cap
EXTD=itol were streamlined, feistier ones for sure, but they had also 
EXTD=come armed with a load of new songs, all very different than thei
EXTD=r earlier, more impressionistic originals to try out on their gen
EXTD=erously accepting fans. Several -- "Playing in the Band," "Deal,"
EXTD= "Wharf Rat," "Bertha," "Greatest Story Ever Told," "Loser," and 
EXTD="Bird Song" -- would be unfurled at these shows, all of them to b
EXTD=ecome GD staples for the rest of the band's run (all would also s
EXTD=oon find their way to group or solo albums). \n\nThere is a feroc
EXTD=ity to the performance captured on this third installment of the 
EXTD=From the Vault series that is markedly less diffused than the ene
EXTD=rgy found on the band's 1969 Live/Dead album or traded recordings
EXTD= of 1970 shows. The 1970 sets were regal, mind-numbing, body-drai
EXTD=ning, epic, lysergic events; the Capitol show is an all-out rock 
EXTD=& roll concert. There would be no more show-opening acoustic sets
EXTD= as they'd done often in 1970; this was about returning to the ro
EXTD=ots but starting anew at the same time. Which isn't to say the De
EXTD=ad had lost any of their gift; they simply channeled their power 
EXTD=through a narrower tunnel. Garcia's soloing on the more up-tempo 
EXTD=tunes like "Cumberland Blues," "Bertha," "China Cat Sunflower/I K
EXTD=now You Rider," and "Deal" is wicked, Weir found chords and rhyth
EXTD=ms that seemed never to have existed before, and Lesh locked in w
EXTD=ith the sturdy Kreutzmann to create one of the most dynamic, inve
EXTD=ntive rhythm sections in rock. Pigpen, well, was still Pigpen, ma
EXTD=scot and fan favorite, his role as a player somewhat diminished b
EXTD=ut obviously enjoying the start of his last full year as a produc
EXTD=tive member of the Dead before his rapid demise set in (he would 
EXTD=die in 1973). The ballads and mid-tempo numbers displayed new sub
EXTD=tleties, and the band's collective jamming on the expanded excurs
EXTD=ions -- "That's It for the Other One" and the Pigpen vehicles "Go
EXTD=od Lovin'," "Smokestack Lightnin'," and "Easy Wind" -- is still a
EXTD=dventurous and evocative, if less meandering than before. The ban
EXTD=d's take on Chuck Berry's "Johnny B. Goode" is a bolt of lightnin
EXTD=g and the "Truckin'" opener establishes immediately that losing h
EXTD=alf of their percussion team isn't about to slow these guys down 
EXTD=(Kreutzmann's solo may be missing some of the quirks and counter-
EXTD=rhythms Hart provided, but it is one powerful piece of drumming).
EXTD= The new tunes, some still in relatively unfinished states, serve
EXTD= as indications that the Dead were growing rapidly as a creative 
EXTD=force. There would be many more new ones to come over the next fe
EXTD=w years, as the Dead cemented their persona for the long haul. Th
EXTD=e template for nearly the next two-and-a-half decades of Dead-dom
EXTD= -- including the idea of dividing the show into two halves, the 
EXTD=second devoted to more introspective improv -- was set right here
EXTD=. By the end of 1971, San Francisco's secret would build a fan ba
EXTD=se that would never shrink.  -- Jeff Tamarkin\n\n\nAmazon.com Edi
EXTD=torial Review\nReadied in the early '90s (but not released until 
EXTD=the summer of 2007) this multi-tracked document of a strong twent
EXTD=y-song, two-hour set by the Dead from February 1971 in Port Chest
EXTD=er, NY brims with subtle pleasures and myriad rave-ups. The sound
EXTD= is immaculate throughout, thanks to the group's adoption of radi
EXTD=cal technology for the time. The band was at a creative peak at t
EXTD=he start of '71; both Workingman's Dead and American Beauty had b
EXTD=een released the previous year. There are a few points where the 
EXTD=group seems a tad lead-footed, but this is understandable as seco
EXTD=nd drummer Mickey Hart had left the previous day for a several ye
EXTD=ar hiatus after it was discovered that his father had ripped off 
EXTD=the group while acting as their manager. Overall, the band 's cle
EXTD=arly moving towards a more mean and stripped-down sound. And the 
EXTD=rocking numbers like "Bertha"--debuted at this gig, along with a 
EXTD=handful of other numbers--do benefit from this. To top it all off
EXTD=, the songs sung by Ron "Pigpen" McKernan here are among the stro
EXTD=ngest the blues interpretations ever recorded. There are a lot of
EXTD= Dead shows out there, and some have historic value, while others
EXTD= just sound great in terms of the performance and fidelity. This 
EXTD=show has the full trifecta; it's not to be missed by even the cas
EXTD=ual 'head. --Mike McGonigal \n\n\nAMAZON.COM CUSTOMER REVIEW\nAbo
EXTD=ut Time They Got It Out, July 26, 2007 \nBy  Ken Herrick\nA very 
EXTD=good recording & show. Now, if they can just do the night before 
EXTD=too. In case you don't know, this is the 1st show after Mickey Ha
EXTD=rt chose to take his couple of year break & the night before is t
EXTD=he last show he did. The band plays JUST PLAIN GREAT considering 
EXTD=the abrupt change they had to deal with. Really nice first set & 
EXTD=great second set. \n\n\nAMAZON.COM CUSTOMER REVIEW\n(Actually, 3 
EXTD=and 1/2, or 3 and 3/4 stars), July 25, 2007 \nBy  Rodrigo N. Espi
EXTD=eira "Rne" (Malaver , Argentina)\nAfter many years of delay, "Th
EXTD=ree From The Vault" was finally released. Nice digipak design, ni
EXTD=ce booklet, nice front cover with emblematic "steal your face" lo
EXTD=go. As always, outstanding sound quality (sometimes I wonder: did
EXTD= The Dead have the best sound engineers of those times???). \n\nN
EXTD=ow, regarding what brings us here, the music, this is an obviousl
EXTD=y transitional Dead. This recording is, most of all, of historica
EXTD=l interest, due to the fact that it was the very first concert af
EXTD=ter the departure of Mickey Hart and that many songs were premier
EXTD=ed that night. Of course, these historical facts affect the group
EXTD= sound. First of all, Bill Kreutzmann had no trouble AT ALL with 
EXTD=supporting the band alone. In fact, he started playing better tha
EXTD=n ever. Regarding the new songs, well, they are played generally 
EXTD=in a rush, the lyrics are not always remembered (although it also
EXTD= happens with songs which were not new) and the band interaction 
EXTD=does not flow freely as always. They generally sound instable, a 
EXTD=little bit akward, but that is absolutely normal, of course. Anyo
EXTD=ne who has ever written a song knows it takes time to find the su
EXTD=itable vibe for each tune. \nWhen playing the "old ones" ("That's
EXTD= It For The Other One", "Smokestack Lightnin'", "China Cut Sunflo
EXTD=wer"), the Dead do it with the usual absolute authority. \n\nSo, 
EXTD=even though it does not seem to be a mind-blowing recording (an m
EXTD=any other Dead releases), it is still extremely interesting to he
EXTD=ar the band in the process of changing, learning and taking new r
EXTD=isks. Far from anchoring in audience favorites, chances are taken
EXTD= and the future is set off. But, as we know, the Dead were always
EXTD= looking for something new, and once these songs were properly le
EXTD=arnt, they were already writing new ones with new challenges. Jus
EXTD=t an test to perceive of the ever-evolving nature of the band: co
EXTD=mpare the version of "Playing In The Band" of this release with t
EXTD=he one in "The Grateful Dead Movie Soundtrack". \n\nOnce again, a
EXTD= delightful and interesting record. \n\n\nAMAZON.COM CUSTOMER REV
EXTD=IEW\nNot quite five stars...but..., July 22, 2007 \nBy  therealbi
EXTD=gsky "therealbigsky" (Montana)\nWell this isn't a super performan
EXTD=ce from the Dead, but it has it's moments. It's incredible qualit
EXTD=y sound, and Bob Weir's playing in high in the mix, which I appre
EXTD=ciate in the 71-74 years.Deadheads will enjoy his lead work while
EXTD= Jerry plays rhythm. \n\nSmokestack Lightnin and Easy Wind are gr
EXTD=eat, and this from a guy who usually skips those long Pig raps. \n
EXTD=\nI've always enjoyed 1971 "bar band" dead with its one drummer, 
EXTD=and country and blues sound, as well as some of it's best materia
EXTD=l fresh, and it's young Jerry Garcia voice. If you liked "Ladies 
EXTD=and Gentlemen", you're sure to like this one. The performances ar
EXTD=en't as legendary, not quite as many awesome tunes, but it sounds
EXTD= better and it's a rockin good time. \n\n\nAMAZON.COM CUSTOMER RE
EXTD=VIEW\nI know why this took 15 years to release., July 21, 2007 \n
EXTD=By  Dark Star-The Other One (The Bus To Never Ever Land)\n\nThere
EXTD= seems to be a little "mystery" about why this release took so lo
EXTD=ng. Phil Lesh didn't like it and nixed it for release back in ear
EXTD=ly 1993.  Copies had already been made up and David Gans was even
EXTD= playing it on his show.  Basically, what happened was, at the ti
EXTD=me,  Phil didn't want to use any shows that had gone into already
EXTD= released albums and Dan Healy only wanted to use multi track tap
EXTD=e so this show (from a run) which was recorded for Grateful Dead 
EXTD=(aka Skull & Roses) but not used, was pulled out.  This was the s
EXTD=econd night.  The first night found the debut of 6 songs (Bertha,
EXTD= Greatest Story, Johnny B Goode, Wharf Rat, Loser and Playing In 
EXTD=The Band) and was the last show for Mickey Hart (Ned Lagin also p
EXTD=layed Keyboards at that show). This was the first show with just 
EXTD=Billy again since September 1967.  This show also found 2 new son
EXTD=gs (Bird Song and Deal) being pulled out as well as repeats of so
EXTD=me of the new stuff from the night before.  When it was brought o
EXTD=ut in Dupree's Diamond News that songs like Bird Song made its fi
EXTD=rst appearence here, Phil said "Yeah, but the problem was, it sou
EXTD=nds like the first".  Later in the year, the band asked Dick to s
EXTD=tart picking 2 track tapes for release and Healy was fired early 
EXTD=the next year. \nAs for the performance itself, I like it. The Tr
EXTD=uckin' blows away the so so version on Ladies And Gentleman. The 
EXTD=Pig Pen songs are strong. Many (including Phil) have said that sp
EXTD=ring tour of 1971 might have been Pig's strongest period.  Dark H
EXTD=ollow is always welcome and a nice That's It For The Other One.  
EXTD=Yeah, I like it but then I liked it back in 1993 too!!! \n\n\nAMA
EXTD=ZON.COM CUSTOMER REVIEW\nBig on highs and understandable lows , J
EXTD=uly 13, 2007 \nBy  The Blob "fishtrunx" (Australia)\nProbably des
EXTD=erves 3 and a half stars but that isn't an option. \n\nI won't tr
EXTD=y and turn anyone off this release because the "good" stuff is ho
EXTD=t! I personally prefer full shows and am ready to accept that not
EXTD= everything works on every show but that doesn't justify an autom
EXTD=atic 5 stars for every release based on the "good" stuff. \nIs it
EXTD= one of the better GD live releases??  Not entirely - read on.  T
EXTD=he sound may be crisp and clear but some of the performances are 
EXTD=a hard listen - PITB shocked me in this embryonic and sloppy vers
EXTD=ion however, it's understandable that new songs have to be road-t
EXTD=ested. \n\nYes, i know that they played a heap of new, still unde
EXTD=veloped songs that would turn into monsters in years to come - It
EXTD='s amazing that some of those very tracks like PITB, GSET and Dea
EXTD=l ended up as grand as they did because listening to these versio
EXTD=ns you'd have thought they'd be dumped for eternity by the end of
EXTD= the month.  Thanks to GD for NOT doing that. \n\nThere are heaps
EXTD= of positives to be drawn from this release - i don't beleive i'v
EXTD=e heard a better Smokestack, Hurts Me Too or Easy Wind. Cumberlan
EXTD=d Blues is always a "fun" track even if lines are forgotten. Did 
EXTD=the band have an energy drink (or maybe something different??) be
EXTD=fore playing Bertha - sounds like it - gets you moving. Continuin
EXTD=g on with that energy is China/Rider - a stand-out sounding more 
EXTD=confident with age (and will get better after '71). Other One is 
EXTD=my favourite GD song (along with UJB & EOTW) and hardly ever disa
EXTD=ppoints - this version is no exception. Wharf Rat rides on the cr
EXTD=est of raw emotion, flows, and ultimately drags you in. Truckin' 
EXTD=and Loser also deserve worthy mentions. \n\nA single cd version f
EXTD=or the average listener would be 5 stars and i've made a compilat
EXTD=ion of the highlights just right for the car (apologies for leavi
EXTD=ng out johnny b. goode which is one of the best i've heard but it
EXTD= didn't fit on the cd-r). This is it: \n\n1. cumberland blues \n2
EXTD=. hurts me too \n3. bertha \n4. smokestack lightnin' \n5. china c
EXTD=at sunflower \n6. i know you rider \n7. easy wind \n8. that's it 
EXTD=for the other one \n9. wharf rat \n\nWas it worth the purchase - 
EXTD=ohhhhhhhh yeahhhhhh!! They can keep releasing mixed-bags of goodi
EXTD=es like this and i'll keep buying them and asking for more! Yummy
EXTD=!! \n\n\nAMAZON.COM CUSTOMER REVIEW\nBring Out Your Dead, July 6,
EXTD= 2007 \nBy  Paul S. Wax (Teaneck, New Jersey United States)\nBrin
EXTD=g out your Dead! Bring out your Dead! Well whaddya' know - finall
EXTD=y, From the Vault III was released. I'm usually biased to these f
EXTD=olks since I have always been a "grateful fan" and with all that 
EXTD=time waiting for it - I find it somewhat of a letdown, The best p
EXTD=art was "That's it for the Other One" - and other than that, it w
EXTD=as not what I was hoping to expect. However, I have to give much 
EXTD=credit to Bill K - his drumming did more than make up for the los
EXTD=s of Mickey H during those days. \n\nMediocracy reigns for this o
EXTD=ne - can't win them all! \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nI'm 
EXTD=Thinking of a Number Between One and Ten!, June 27, 2007 \nBy  Ke
EXTD=nneth M. Gelwasser (Hollywood, Fl USA)\n\nIt's been awhile since 
EXTD=the GD folks have had a new release of archival materials from th
EXTD=eir legendary tape vault (since moved?). Apparently this baby has
EXTD= been ready to go in the "...From the Vault" (multi-track recordi
EXTD=ng) series for the last 15 years. Ahh, procrastination at it's be
EXTD=st! But as R.Hunter once wrote, "all good things in all good time
EXTD=". Well, lets amend that. How about "all GREAT things in all good
EXTD= time"! Because, thats the feeling I got, when listening to this 
EXTD=1971 Capitol Theatre show (Port Chester, NY 2/19/71) now released
EXTD= as the two disc set, "Three From the Vault". \n\nI'm sure there 
EXTD=will be plenty of reviews, that recount better than I can, what a
EXTD= busy week Jerry & the boys were having in mid February '71. How 
EXTD=they were premiering a truck load of new songs ("Loser", "Bertha"
EXTD=, "Playing in the Band", "Warf Rat" "Greatest Story Ever Told", "
EXTD=Bird Song", "Deal"). How this particular show (2nd of a 6 night r
EXTD=un) was the first without drummer, Mickey Hart, after an embarass
EXTD=ing, embezzlement scandal, involving his father. How the GD used 
EXTD=this particular gig's audience in a bon-i-fied, sci-en-ti-fic exp
EXTD=eriment (try saying it in Mr.Hainy's voice...) of the par-a-norma
EXTD=l, thus giving it the nickname of "The ESP Show". But lets leave 
EXTD=these details too Dennis McNally and the other historians in the 
EXTD=crowd. \n\nWhats really important is that this is really a gen-un
EXTD=-ine (try that Mr. Hainey voice again..) kick-a** show! You'll kn
EXTD=ow it, when you hear it. Some GD archival releases, while interes
EXTD=ting, tend to gather dust in your Dead music collection. Others k
EXTD=eep finding their way again and again into the ol' CD tray, becau
EXTD=se they really have something special (think Dick's Picks 8). Wel
EXTD=l this is one of those releases. If there is any one recording, I
EXTD= would compare this show to, it would be the Dead's live 1971 "Sk
EXTD=ull & Roses" album. It not only shares the same material and time
EXTD= period, but it also seems to have the same boundless energy. But
EXTD= this is even better! While "Skull & Roses" had terrific performa
EXTD=nces ("It's been a favorite all these years!") it was mined from 
EXTD=several performances ,while the "Three From the Vault" release fe
EXTD=els much more unified, since it's all one complete show. \n\nWhil
EXTD=e many of the songs are in embryotic forms (and more tentative th
EXTD=en what they would eventually become), they still are fun to list
EXTD=en to. I love this version of "Bird Song". It seems to have an al
EXTD=most light and spritely sound. Jerry's guitar is just wonderful o
EXTD=n it. Other standouts include Bobby's folky "Dark Hollow", a rock
EXTD=in' "Greatest Story Ever Told" and Pigpen doing what only Pigpen 
EXTD=can do on "Easy Wind". But for me the center piece of the show is
EXTD= "Thats It For the Other One". Maby Billy had something to prove 
EXTD=that night, since he was taking over all the percussion duties. W
EXTD=ho knows? But you can certainly hear him giving it his all in an 
EXTD=artistically pleasing performance. This show's performances are h
EXTD=ardly the most improvisational ones in the Dead's history, by a l
EXTD=ong shot, but they certainly are just plain terrific in their own
EXTD= way! \n\nFinally, I want to mention how great "Three from the Va
EXTD=ult" sounds. The guitars have an almost jangly Byrds-like sound a
EXTD=nd the vocals are crystal clear and out front in the recording. K
EXTD=udos to all the folks involved in the mixing, mastering and engin
EXTD=eering of this recording! It's like 'mother's milk'! A great show
EXTD=, that will find a lot of time in my CD player. Highly recommende
EXTD=d! \n\n\n\nHalf.com Details \nProducer: Grateful Dead \n\nAlbum N
EXTD=otes\nGrateful Dead: Jerry Garcia, Bob Weir (guitar); Ron 'Pigpen
EXTD=' McKernan (harmonica); Phil Lesh (bass guitar); Bill Kreutzmann 
EXTD=(drums).\n\nAll tracks have been digitally mastered using HDCD te
EXTD=chnology.\n\nIf the question is "What could possibly be left in t
EXTD=hose vaults?" then the latest installment in Rhino's Grateful Dea
EXTD=d live catalog THREE FROM THE VAULT is the resounding, encouragin
EXTD=g answer: loads. The third installment in the legendary-among-Dea
EXTD=dheads "Vault" series, THREE FROM THE VAULT benefits from the sam
EXTD=e multitrack sound that the first two did, capturing the Dead at 
EXTD=their early '70s peak and creating a more shapely sound than the 
EXTD=band's usual soup.\nRecorded on February 19, 1971, at the Capitol
EXTD= Theatre in Port Chester, THREE FROM THE VAULT features the origi
EXTD=nal Dead line-up sans second drummer Mickey Hart. The set is a wh
EXTD=opper. The band tear through it with a ferocity that sometimes bo
EXTD=rders on garage-y. The absence of Hart leaves Bill Kreutzmann ple
EXTD=nty of room to create lean, taut rhythms and Pigpen McKernan's us
EXTD=ually downplayed organ is cranked, offering a refreshing third vo
EXTD=ice against Jerry Garcia's and Bob Weir's guitars. The highlights
EXTD= are many: a surprisingly funked-up version of "Loser," a rivetin
EXTD=g McKernan vocal turn on "Hurts Me Too," and the world premiere o
EXTD=f "Bird Song." These moments just scratch the surface, as all the
EXTD= performances are stellar. There is a rare crispness and energy t
EXTD=o the Dead's attack here. When the non-believers wonder why the '
EXTD=heads love this band, THREE FROM THE VAULT should be the one of t
EXTD=he first responses.
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