Game: Woolyverse: Tower of the Wizard's Guild*
Location: W
Choice: W
* name of game has not been finalized.
Game One:
G(28pts), W(20pts) & K(18pts)
Game Two:
G(31pts), W(22pts) & K(20pts)
Final Tally:
G won both games and was declared victor for this week.
Notes:
- G asked for pictures/comments for cottage weekend blog entry
- Leftover cottage chips were enjoyed by the participants
- G: "OK well I was pretty sure that I was losing the first game but in the end I won it. Now for this second game, I'm definitely not winning... Oh look at that: I did win. How did that happen?"
- K: "Aaargh!"
Music Features (with notes from AllMusic.com):
None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise.
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| The Band in the early days jamming in the basement |
At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot. In retrospect, especially as the lyrics sank in, the arrangements seemed far more considered and crafted to support a group of songs that took family, faith, and rural life as their subjects and proceeded to imbue their values with uncertainty. Some songs took on the theme of declining institutions less clearly than others, but the points were made musically as much as lyrically.
Tenor Richard Manuel's haunting, lonely voice gave the album much of its frightening aspect, while Rick Danko's and Levon Helm's rough-hewn styles reinforced the songs' rustic fervor. The dominant instrument was Garth Hudson's often icy and majestic organ, while Robbie Robertson's unusual guitar work further destabilized the sound.
The result was an album that reflected the turmoil of the late '60s in a way that emphasized the tragedy inherent in the conflicts. Music from Big Pink came off as a shockingly divergent musical statement only a year after the ornate productions of Sgt. Pepper, and initially attracted attention because of the three songs Bob Dylan had either written or co-written. However, as soon as "The Weight" became a minor singles chart entry, the album and the group made their own impact, influencing a movement toward roots styles and country elements in rock. Over time, Music from Big Pink came to be regarded as a watershed work in the history of rock, one that introduced new tones and approaches to the constantly evolving genre.
(from AllMusic.com May 2015)
...Some unfortunate business dealings involving his father Lenny Hart -- who briefly managed the Grateful Dead -- resulted in Mickey extricating himself from the band in 1971. However none of the other members blamed Mickey and remained supportive of his sabbatical. It was as a result of suddenly having some time off the road that the Rolling Thunder project was completed -- primarily in the barn of his Novato, California ranch. Unlike Garcia and Weir, Hart ventured beyond the confines of the Dead for support, featuring a bevy of rock and roll heavies -- many of whom were also fellow Bay Area residents.
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| ok so maybe the cover is a little hard to read... |
...a seminal version of "Playing In The Band" which is titled "The Main Ten" in reference to the song's time signature. In addition to Dead mate Weir (vocals/rhythm guitar), the track also features Stephen Stills (bass), John Cipollina (guitar), the Tower Of Power horns, as well as legendary jazz percussionist Carmelo Garcia (timbales).
..."Pump Song" is the only other track to have been incorporated into the Dead's repertoire. It was inspired by the rhythms inherent in an actual water pump located on Hart's ranch -- which can be heard during the intro. After a few minor rearrangements, the Dead worked it up as the "Greatest Story Ever Told".
...There are several other stunningly original compositions on Rolling Thunder, among them are "Blind John -- which was the a-side (b/w "Pump Song") of the only 7" single to be extracted from the long player. This folkie flavoured number features Jefferson Airplane -- soon-to-be-Jefferson Starship membersGrace Slick (piano/vocals), Paul Kantner (vocals) and David Freiberg (guitar/vocals) as well as Barry Melton(guitar/vocals) from Country Joe & The Fish.
(from AllMusic.com May 2015)
Although many of the entries in the Grateful Dead's Dick's Picks series of archival recordings have great stories behind them, this four-disc volume bears an exceptional lineage. It seems after Keith Godchaux (keyboards) was hired in the summer of 1971, the keyboardist -- who would be replacing Ron "Pigpen" McKernan -- was given tapes of a recent tour by Jerry Garcia (guitar/vocals). Godchaux's mandate was to familiarize himself with the band's concurrent repertoire in preparation for their next batch of dates in the fall. Fast-forward three and a half decades as Godchaux's personal belongings are being gathered and sorted by his son Zion and brother Brian on a houseboat once owned by Keith and Brian's parents (Zion's grandparents). There they found a significant cache of Grateful Dead master reels from the spring and summer of 1971. As they had been aboard the vessel for 35 years, the vast majority of the music had never been circulated among even the most faithful Deadheads...
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| When the dead were a tight (?) five-piece band |
The four-plus hours of music uncover the combo at a critical juncture as Mickey Hart (percussion) had taken a sabbatical a few months earlier and Tom "T.C." Constanten (keyboards) quit to pursue a solo career. Plus, Pigpen was beginning to suffer from years of drinking and questionable lifestyle choices...
Several tunes that would become staples in the Grateful Dead's continually increasing repertoire are heard here in their infancy. In terms of the group's trademark symbiotic instrumental interaction and despite (or perhaps because of) the personnel changes, there is a tight yet limber quality propelling the lengthier jams. For many, this will be the highlight of the entire package as nary a note is misplaced and they combine their acidic antics with some lean and convivial communications. Here is hoping there is more to be heard from this formerly hidden stash of vintage Grateful Dead.
(from AllMusic.com May 2015)
