Steve Seachrists Review of a Dead Show from Europe 72
Posted On December 10, 2011
Steve Seachrist is a Deadhead, musician and a very good reviewer of Dead music, He writes in Musicians and Deadheads language, He has reviewed every Live CD that the Dead have released, Which is quite alot. I am priviledged to have Steve share his review of one of the concerts from the new Europe 72 Box Set. With his permission, I’ve printed his article below. This is a show that I have ordered. Enjoy.
Europe ’72: The Complete Recordings – Paris, France 5/3/72
Thus begins a two-night stay at the venerated Olympia Theatre in Paris. Please do read the liner notes to this one, again written by the highly enlightened Steve Silberman. And again his insight gives me license to just let him provide all of the context. That makes me very happy. But here’s a bit about the music played this night: first and foremost, no fewer than four songs were selected from this very gig for the original.
Europe ’72 album: “China Cat Sunflower”, “I Know You Rider”, “Tennessee Jed”, and “Jack Straw”.
These are centerpieces of that album and became the definitive versions for the vast majority of Dead fans for a long time. Am I overstating this? I don’t think so. Taping became a huge phenomenon later, but for a while, these were the ultimate in live versions. In my mind, this is still pretty much true. I love other versions, but these are to me the pinnacle of what was possible. There are good reasons these were selected for overdubbing and subsequent release. They’re just incredibly hot, even next to versions played either side of this date. Go ahead, argue with me. I want to debate it.
The sound quality has taken a noticeable turn for the better over the past couple of shows, although it is still perhaps one notch inferior to earlier releases from the tour, like Rockin’ the Rhein or Steppin’ Out. Here’s hoping whatever was plaguing the sound has been improved from this show on out.
The Paris crowd is already rowdy at the top, clapping in rhythm and cheering loudly. The band warms up only for a second, then lights into this contender for tightest “Bertha” of the tour. This song had recently (in 1971) been released as a live version so there was little chance it would appear on the live album being recorded on this tour. Maybe that allowed them to loosen up a bit and just pummel it. Pigpen adds nice organ colors, Keith is a god of piano fills, and Jerry hits this out of the park in terms of singing and playing. Oh, sure, the other guys are all over it too. When the guitar solo hits, it is fantastic. I thought the one on Skull and Roses was the monster (and it is) but this one is every bit as hot and I never thought I’d say that.
2. Me and My Uncle
Another refugee from Skull and Roses comes up here. Before it does, a woman speaks some French to the audience. Weir chimes in in German. Prankster! The song comes to life full of the same flavors that “Bertha” enjoyed only moments before. It is a very hot version from the top to the tail. The solo is completely without peer. I do not know how a band can get lit up to this extent, I really don’t. But here they are supernaturally great. Every single note and nuance is as good (probably better) than you have ever heard it.
3. Mr. Charlie
This grooves so deeply I am having a hard time understanding how any version could beat it. Jerry’s solo is certainly better than the official version. It is scary and thrilling in ways that cannot be explained. The return to the verses is full of electricity and I rate this absolutely essential in the annals of “Mr. Charlie”. Wow!!
This easily could have been a contender for the original album. It is so solid and confidently played that it must have been on the short list. It is interesting that this tune and the next one appeared on the live album from two years later, the universally-reviled Steal Your Face I don’t hate that album as much as most folks, and I do see it as another noble attempt to present previously-unreleased live songs, a lot like Europe ’72. But back to this: the song is so completely full of the vibrancy you want that it is utterly undeniable in its ascendancy to the top of the Europe heap. It’s the best so far.
5. Black Throated Wind
There are so many great versions of this on the tour already, I didn’t know if this one could possibly beat them. Sound quality alone could give this an edge. It is played magically, too. Typically, Jerry’s lines make the biggest impact, but Bob’s singing and Phil’s contributions are killer and Keith and Billy nail their respective parts. Just when you thought you’d heard the best one, here comes this! Dig it. It is superlative, and I don’t use that term loosely.
6. Chinatown Shuffle
This version is perfect in its context here. The sound rocks, the playing is hot, and Pigpen has never been in better form. If I had to nit-pick with a gun to my head, I’d say Jerry may have nailed the guitar parts a little better on other versions but I am certainly not going to complain. This is worthy of all the love you could invest in it. It is also a necessary Pigpen interlude to the next tunes, which happen to be the ones selected for the Europe ’72 album.
7. China Cat Sunflower
I’m really excited to hear this, since every nuance of the official version is burned deeply into my brain. Jerry gets the riff straight quietly then snaps to for real. That groove is undeniable – it is the one. To my ears, the vocal we are hearing here is the original one and the more familiar one was overdubbed. They are so close, I could be wrong. When “diamond eye jack” is sung, I know I am right. The instruments do precisely what you remember but they sound huge here. The instrumental bridge is like a Technicolor version of what you know. The last verse is again just different enough that you know there was a later revision. As the jam develops, it is that totally familiar sequence of sublime playing. And, yes, there are very good reasons why this concise little version was the one selected. It gives me chills to hear it like this. Jerry comes to the fore more so than other versions before the quick set-up to…
8. I Know You Rider
This sounds exactly like the vocals we know. Either they got it perfect live, or we are now hearing overdubs. I’m going to guess the latter – it is too good. After the “wild geese” verse, Jerry plays that exact solo we have imprinted in our brains. The next chorus is that sweetened stuff you’ve heard so many times. Ditto the Jerry “train” verse and the following chorus. Then the solo blows the roof off. Is it overdubbed? We don’t know for sure but it sure is inspired. This is what Grateful Dead dreams are made of. Whether live or contrived, it is pure magic. The crowd goes for it.
To read other 2 parts of Steve’s review,go to www.countryreviews.blogspot.com