Oil Well Bootlegs - RSC CD: Grateful Dead - Pain in my heart Oil Well RSC CD 034

Grateful Dead - Pain In My Heart
Oil Well RSC CD 034

1 High Heeled Sneakers 4:14
2 Pain In My Heart 2:59
3 Cold Rain & Snow 3:45
4 Beat It On Down The Line 2:35
5 Cream Puff War 7:38
6 The Same Thing 11:04
7 A Friend Of Mine 5:26
8 Smoke Stack Lightnin' 8:43
9 I'm A King Bee 5:28
10 Midnight Hour 18:22
Time 69:02

Note:
All songs by Hunter/Garcia unless noted.
~~Live in Sausalito December 13 1966~~
Live at Fillmore Auditorium - San Francisco, CA - 11/19/66

Lineup:
Jerry Garcia – lead guitar, vocals
Bob Weir – rhythm guitar, vocals
Ron "Pigpen" McKernan – keyboards, harmonica, percussion, vocals
Phil Lesh – bass, vocals
Bill Kreutzmann – drums

This album is a digital clone of: Cream Puff War - Scorpio ‎– 92-GD-SC-4005
Oil Well version has a fine cover, fine quality. Limited to 200 copies only. Due to its rarity and good quality, this disc is recommended.
Read below for more informations!

Audio quality:

Quality content:

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Live at Fillmore Auditorium - San Francisco, CA - 11/19/66
This is an awesome, awesome show. Additional acts of the night were: James Cotton Blues Band - Lothar & The Hand People. The concert opens with Cold Rain And Snow that kicks it off with an almost precious version of what can be a terribly melancholy lament, but even with its innocence - or perhaps because of it - this is still a wonderfully original take on the tune. Hi Heeled Sneakers, which was only a few years removed from its original debut by Tommy Tucker, is a spitfire little piece of blues delivered through the acidy, kaleidoscope amplifier of the early Grateful Dead; it gives us an idea of how the blues (in short "ditties") sounded in the early days. Really awesome.

Pain In My Heart is also ridiculously good in a very different way with Pig just pleading on vocals. Afterwards, the boys thump out eleven beats before tumbling forth in a mad rush through Beat It On Down The Line. It is psychedelia on bennies with a bluesy feel, relentless organ, and striking, rough Jerry run in the middle. While there is a certain inalienable core here, each tune is so mesmerizingly unique and different. And the Cream Puff War that comes out next is no different, positively delicious and the real nugget of the entire show. After the lyrics, Jerry starts off arcing along through a dark and deep jam with hints of the most gnarly surf guitar.

Before too long, though, he and the rest of the band up the energy and headiness even further as they storm off into the stratosphere in mystical fashion. Next, The Same Thing showcases Pig’s intense blues presence and has Jerry providing some sparse and tasty riffs. Then, in the second half of the song, the entire band heads off on a rollicking, unkempt expedition. And, after just a moment’s hesitation, they then dive into a sweet and syrupy version of He Was A Friend Of Mine, which just has a little twinge of psychedelia, unlike the full servings that come in most of the rest of the show, including the spectacular Dancin’ In The Streets.

There are few songs that the band played as many ways as they did Dancin’ over the years, and this rendition is as different as they come, with neither a hint of Motown or any twinge of disco, it is also not the straight up rock n’ roll versions they would pull out in just a few years. From there, the boys - Pig especially - head into a long, moody, and righteous series of blues tunes with Smokestack Lightnin’ - almost hinting at punk at times - going into a luscious King Bee before taking just a pause before heading into a superlative Midnight Hour. In that capper, Pig rolls out some of his best rapping, and the band is there to back him up in an exceptional manner.

If you listen to the introduction to this show, you will hear the drummer introduced as Bill Summers. There was not someone sitting in; instead it was none other than Bill Kreutzmann. He went by that moniker throughout the early years of the Dead - before he turned 21 - because he had a fake ID with that name on it.
http://gratefuldeadoftheday.com/11-19-1966

Liner Notes
Jerry Garcia - lead guitar, vocals; "Pigpen" McKernan - vocals, organ, percussion; Bob Weir - guitar, vocals; Phil Lesh - bass, vocals; Bill Kreutzman-drums. No band has been better documented by circulating live recordings than the Grateful Dead. Although vast quantities of recordings from the '70s are now easily accessible to collectors, tapes from the primal, early years of the band (1966-67) were extremely scarce.

Following Bill Graham's classic introduction, where he refers to the band as "the Charles Atlas of the psychedelic set," the band kicks things off with a high-speed performance of "Cold Rain and Snow." Garcia then leads the group through a rare performance of the rock and roll classic "High-Heeled Sneakers." Even at this early stage, Garcia's style and approach to the guitar, which reflects years of banjo picking, is uniquely his own.
Besides the set opener, only two other songs played this night would surface on the band's debut LP the following year: "Beat It On Down The Line," a vintage jug band tune sung by Bob Weir, and "Cream Puff War," Garcia's first original composition for the band. The latter would be one of only two original songs included on their first album and is likewise the only original performed here.

The remainder of the set features two covers that the band would continue to play for years: "Dancin' In The Streets" (which unfortunately fades out and is incomplete) and "He Was A Friend Of Mine." Otherwise, the show is primarily a showcase for lead singer, harmonica player and organist Ron "Pigpen" McKernan, who at this stage was clearly the focal point of the band.

Both "Pain In My Heart" and "The Same Thing" are great examples of Pigpen's gift for singing the blues, the latter developing into a freeform improvisation that allows the entire band to explore.
The last half hour of the set is a Pigpen tour-de-force, beginning with a sizzling take on "Smokestack Lightning" that segues into "King Bee," The arrangement's not unlike the early Rolling Stones version, but with considerably more power and authenticity.
The set closes with a lengthy improvisation on "In The Midnight Hour" that again showcases Pigpen. Stretched out to almost 19 minutes to accommodate dancing, this performance proves that Pigpen could improvise vocally just as well as the musicians could instrumentally. Herein lies the magic of the early Grateful Dead.