Oil Well Bootlegs - RSC CD: Grateful Dead – Truckin' Oil Well

Grateful Dead – Truckin'
Oil Well – RSC 084 CD

1 Truckin' 9:43
2 Loser 9:11
3 Next Time You See Me 4:28
4 Greatest Story Ever Told 4:10
5 Johnny B. Good 5:10
6 Ripple 5:44
7 Not Fade Away 4:23
8 Going Down The Road 8:32
9 Not Fade Away #2 1:52
10 Turn On Your Lovelight 26:10

Note:
All songs by Hunter/Lesh/Garcia/Weir
Live in Port Chester, NY - February 20, 1971 - Vol.2

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

This album is a digital clone of: Daybreak On The Land - CD2 - Vigotone ‎– VT-126/7 (1994).
This Oil Well version has a fine cover, fine quality. Limited to 200 copies only.
On the front cover Jerry Garcia playing live during a concert.
Due to its rarity and good quality, this disc is recommended. Sounboard quality.
Please note that this CD is one of the most rare from this italian bootleg label!

Audio quality:

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Live in Port Chester, NY - February 20, 1971

In Port Chester, the Grateful Dead gained new fans -- and lost a percussionist. The concert, on a Friday night in the bitter heart of winter, was the second of a series of six shows in seven days the band played the Capitol. Midway through the Dead's stay in Port Chester, percussionist Mickey Hart left the band. He would eventually return in October of 1974, but in the interim the band relied on drummer Bill Kreutzmann to drive the rhythm section.

The Capitol Theater concert on Feb. 19, 1971 -began a four-year stretch in which Kreutzmann was the Grateful Dead's only percussionist.

The opening act for the show was New Riders of the Purple Sage. The New Riders, as they were often called by fans, featured several musicians who were also members of the Dead at some point -- including Jerry Garcia, who rocked the pedal steel guitar that night. Garcia, who was betterl-known for his talents as a bluegrass banjo player, was also the co-founder of the side-project, along with Grateful Dead associates and collaborators John Dawson, David Nelson, Dave Torbert and Spencer Dryden. Since forming in 1967, the young band had released five studio albums and a live recording, and its diverse elements of rock, folk, bluegrass, reggae, country, and jazz were familiar to critics and fans alike. Around the time the band played Port Chester, Jerry Garcia and founder Ron "Pigpen" McKernan had just begun to relish in the commercial success of their most recent records. Workingman's Dead -- and later American Beauty, the band's fifth album -- were both widely acclaimed at the time, cementing the band's growing reputation. Both efforts were included in Rolling Stone's "500 Greatest Albums of All Time," a list that was compiled in 2003.

Obsessive Deadheads consider the Feb. 19 show significant because it marked the debut of seven new tracks, including "Bird Song" and "Deal." It also marked the second time for performances of "Loser," "Bertha," "Playing in the Band," "Greatest Story Ever Told" and "Wharf Rat," which were debuted the night before.

A fan named "Bobby G" shared his experience on the Grateful Dead's official website in 2007.
He brought a friend along with him to the Capitol. By the end of the evening, the friend "ended up in the eighth row, in the nude, in front of Jerry [Garcia] holding a beach ball."
"He was never the same," the fan wrote. The full live compilation of the February 19th show was later made available for those who weren't lucky enough to have been there. Dubbed Three from the Vault, the double-disc was released on June 26, 2007, more than thirty years after it was recorded in Port Chester. Legendary Port Chester runs every Tuesday and profiles historic performances in the village's history. Got an old recording from a seminal concert at The Capitol or the old 7 Willow Street? Tell us about it, and don't forget to share your favorite memories of the show. Were you at a concert we've already profiled? Write in and tell us about your experience in Port Chester's sonic history.

02/20/71
Capitol Theater - Port Chester, NY
Set 1:
Casey Jones
Me And My Uncle
Hard To Handle
Bertha
Playin' In The Band
Bird Song
Big Boss Man
Cryptical Envelopment
Drums
The Other One
Wharf Rat
Sugar Magnolia

Set 2:
Truckin'
Loser
Next Time You See Me
Greatest Story Ever Told
Johnny B. Goode
Ripple
Not Fade Away
Goin' Down The Road Feeling Bad
Not Fade Away
Turn On Your Love Light

The Grateful Dead a biography
The Grateful Dead, considered by many as "the" greatest rock band of all times, were a monument of San Francisco's hippy civilization, and, in general, a monument of the psychedelic civilization of the 1960s. Their greatest invention was the lengthy, free-form, group jam, the rock equivalent of jazz improvisation. Unlike jazz, in which the jam channelled the angst of the Afro-american people, Grateful Dead's jam was the soundtrack for LSD "trips". But soon it came to represent an entire ideology of evasion from the Establishment, of artistic freedom, of alternative lifestyle. Contrary to their image of junkies and misfits, the Grateful Dead were one of the most erudite groups of all times, aware of the atonal compositions of the European avantgarde as well of the modal improvisation of free-jazz as well as the rhythms of other cultures. They managed to transform guitar feedback and odd meters into the rock equivalent of chamber instruments. The infinite ascending and descending scales of Jerry Garcia are among the most titanic enterprises ever attempted by rock music.

The Grateful Dead never sold many records. Their preferred format was the live concert, not the record. They literally redefined what "popular music" is: the live concert shunned the laws of capitalism, removing the business plan from entertainment. Their recorded masterpieces, Anthem For The Sun (1968), Aoxomoxoa (1969) and Live Dead (1970), are mere approximations of their art. At the same time, though, their free-form jams were born out of a philosophy that was still profoundly American. They were born at the border between the individualistic and libertarian culture of the Frontier and the communal and spiritual culture of the quakers.

Despite being ostracized by the Establishment, the Grateful Dead expressed, better than any other musician of that age, the quintessence of the American nation, and perhaps that was precisely the reason that their music resonated so well with the soul of the American youth. It is not a coincidence that the Grateful Dead, along with the Byrds and Bob Dylan, led the movement towards country-rock, via Workingman's Dead (1970) and Jerry Garcia's solo album Garcia (1972). The band spent their adult years trying to transform the subcultural idiom of the hippies into a universal language that could reach out to every corner of the planet (not only the hippy communes). They succeeded with a form of intellectual muzak which interpreted the lysergic trip as a cathartic escape from daily reality and liberation from urban neuroses: Weather Report Suite (1975), Blues For Allah (1975), Terrapin Station (1977), Althea (1979). In practice, their art was a psychological research on the relationship between the altered states of the mind (psychedelic hallucinations) and the altered states of the psyche (industrial neuroses).