Wharf Rat -> | 1993-05-27 | Grateful Dead

2:52:17

Rating:

10.00 / 3 ratings

Transferrer:

Scott Bernstein

SHNID:

gd1993-05-27.109587.sankens.fob.bernstein.flac16

Source:

Sankens COS1 FOB -> ? -> DAT (16 bit/48 khz);

Lineage:

Sony R500->Sound Devices 722; Mastered: Soundforge Pro 10.0b - *All file manipulation in Soundforge done at 24 bits*. Volume normalization, minor clap removal during some quiet parts of drums/space, sample rate conversion 48khz to 44.1khz using iZotope 64-Bit SRC set higher than "Highest Quality" setting w/anti-alias filter, then dithered back to 16 bits using using iZotope MBIT+ with Ultra noise shaping, High dither settings. Tracked in CDWav; Recorded By ?; Transfer, mastering, and tracking August 2010 by Scott Bernstein

Taper Notes:

View NotesRecorded By ?
Clone received on DAT circa 1993 from Brendan O'Neill
Transfer, mastering, and tracking August 2010 by Scott Bernstein

Repaired the following minor glitches using the pencil tool in Sound Forge:
Set 1, Track 6 - small digi-glitch at 6:51 has been minimized
Set 2, Track 6 - minor digi-glitch at 7:32 has been completely removed
Set 2, track 13 - .375 sec drop out at 2:36 has been removed and is rendered inaudible (as it was during a tuning segment anyway)

Taper notes:
So the BARN series started out as a way to try to get more of my master recordings that have been heard by few people outside of my apartment into wider circulation as well as starting an attempt to preserve my deteriorating DATs to a better archival format on hard disc.

Of course, every so often when you've got a formula worked out, you have to break that format.  So this will be the first BARN series recording that I did not personally record.  The mid 90's are not generally regarded as a great time for The Grateful Dead.  From 1990-1991, Bruce Hornsby was in the band and added a huge new music voice and a ton of talent that energized them for a bit which also pushed (challenged?) Jerry Garcia in new ways not to get lazy at shows.  So there were some truly amazing shows in that time period.  But, Bruce didn't stick with the band that long and eventually they started writing some new material (of somewhat dubious quality) with Vince Welnick (the final keyboardist in the band).  Truly excellent shows after 1991 were few and far between -- BUT there were a few actual gems from time to time, and this is one of them.

I pulled this DAT out to listen to recently, remembering when I got it that there was just something really sweet sounding about the quality of this "up front" recording.  I also remember at the time reading up on these Sankens mics which were comparable to the size of a dime and being very impressed.  Of course I went in the complete opposite direction, buying the large diaphragm Neumanns which are among the largest mics anywhere!

Back to this show -- let's start with the 1st set -- how could you ever go wrong with a Shakedown opener, followed by a set of mostly-lesser played tunes for this time period -- the great blues tune, The Same Thing (only in the rotation for a year and a half at this point after being introduced 12/28/91), Dire Wolf, Beat It On Down The Line, High Time (rare in any era!), and Cumberland Blues are all really nicely sequenced for a unique setlist.  Someone else commented that Vince's solo on The Promised Land could be among his finest performances.  I know that's not saying much, but worth a mention.

But the 2nd set -- wow!  When they start a set with Picasso Moon (I know this is not everyone's cup of tea) is a raging version, segueing into very rare Scarlet-less Fire On The Mountain, you know something is afoot.  Then a semi-new (and often maligned) Phil song for the time -- Wave To The Wind is presented in a slightly rearranged/smoothed out fashion that I have not heard anywhere else.  Personally I like this song a lot.  And then the big bust-out -- a split up Cassidy (which had never been done before or since) with Uncle John's Band sandwiched in the middle!  Great music abounds here.  Apparently if I recall correctly someone (an interviewer?) had suggested this to them earlier in the day and they just went for it!  The rest of the set is strong if not particularly notable, but the always excellent (and somewhat rare) Gloria encore just tops the show perfectly.

I have no idea who recorded this originally or what gear was used beyond a DAT and the Sankens mics, so if anyone has any more info on who recorded it and what other gear was used, PLEASE get in touch!

Enjoy!

Scott