Word: kreutzmann
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Dates: during 1970-1979
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...polished gem of intergalactic proportions. The Dead has clearly made a significant transition in their relationship with drugs. Merely in poetic terms, consider the relationship of the Sun in the Anthem album to the portrait of a "Dark Star." Contrast the frenetic percussion work of Hart and Kreutzmann on "Caution" and Anthem to the brilliantly subtle and suggestive use of gongs, bells, cymbals on the later effort. Try "Alligator", a piece of unabashed musical sarcasm complete with a three-part kazoo introduction, on which Garcia's guitar solos are mocking and derisive. "Dark Star", however, displays a tone of ethereal...
There is one cut that the Dead have recorded before: "The Other One," first released on Anthem of the Sun. The number merely demonstrates how much the Dead have been limited by the loss of Hart and Constanten. The opening drum solo shows that Bill Kreutzmann, in spite of his technical skill, is unable to fashion a solo with enough continuity and development to hold the listener's attention. Without Constanten's classically-influenced keyboard work to give the number structure, the remaining instrumental portion of the song degenerates into a rather aimless, formless guitar exhibition by Garcia and Weir...
...Kreutzmann's drumming is adequate throughout, even good in places. However, it is simply impossible for any one drummer to replace the Hart-Kreutzmann combination of Live Dead...
...Grateful Dead and a gospel choir. And in a way, they are. They got started around two years ago when the Dead, in their infinite rock-wisdom, began to "get into" country rock. The band introduced a new concert format: instead of five hours of Electric Dead. Bill Kreutzmann (drums), Phil Lesh (bass), Jerry Garcia and Bob Weir (acoustic guitars and vocals) would play "country Dead" for an hour. The songs were those later to comprise Workingman's Dead and American Beauty, along with other country and spiritual tunes. When they sang "Swing Low Sweet Chariot," a little fellow...
When (as they did a couple of times during the B.U. concert) the guitarists step back to their amplifiers for a drink of Budweiser and let their chords fade out, Kreutzmann and Hart take over and demonstrate one reason why one band has two drummers. They turn on their stools to face each other, their eyes lock naturally, and they shift into perfect synchronization; their arms rise and fall in high elastic curves, each man playing his motions off the motions of the other a tiny part of a second before the sound plays off the sound; the drum duet...