#47745  by old man down
 Tue Aug 19, 2008 10:36 am
This is the poor quality You Tube vid of Jack Straw.

But from what I can tell Jer is really baked. Gotta be L.

He has a universe, insider's feel, for the notes this night, and the phrasing is upside out, inside down. After he gets through the first between verses lead, which is so different in its context, and sounds so cool, you can just tell how he is working off of the very smooth rhythm Bobby is laying down, and he is punctuating it so "neatly" and effortlessly, that there is only one way to stay on top of the beat without even thinking about it, and that's the L.

Phil can't believe how Jer's riffs come off and gives a chuckle because he must know the band's secret of success this night. IMHO.
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 #47766  by Rev_Roach
 Tue Aug 19, 2008 4:03 pm
luckily this show is available in a great looking video. a kind soul who shares his moniker with the song you mention once sent me a copy of it. (thanks again) :cool:

I'll give it a watch later with a critical eye, looking for enlarged pupils, trippy dancing, extra goofy grins, and band members staring at inanimate objects for extended periods of time.

 #47783  by old man down
 Tue Aug 19, 2008 8:45 pm
Just gave it yet another listen.

The really nice phrasing begins at 0.56, the motif for this night's version defined by the 1:00 mark, which he works from, repeats and echos throughout. Very, very tasty.

And sweet bridging between each phrase so that they all come together as a whole thought. The charismatic slur-bridge at 1:15, the bullet-punch at 1:38. Nothing really fast or involving full arm-wrestling-strength rhythm strokes of years later. So nice.

For me, without a doubt, this is the style of play I wish I could emulate. I feel twenty five years younger hearing it.
Last edited by old man down on Wed Dec 12, 2018 12:19 pm, edited 1 time in total.
 #97415  by revloren
 Mon Apr 25, 2011 8:49 pm
Hi everyone,

This is my first post; sorry no avatar, etc.

What's up with Bob taking all of the verse? Much of the joy in this song is Jerry and Bobby switching off lines(even on these early versions). It IS a story of two compadres on a shared adventure after all.

Too bad the music doesn't quite cue up on this clip.
 #97417  by strumminsix
 Mon Apr 25, 2011 8:58 pm
revloren wrote:Hi everyone,

This is my first post; sorry no avatar, etc.

What's up with Bob taking all of the verse? Much of the joy in this song is Jerry and Bobby switching off lines(even on these early versions). It IS a story of two compadres on a shared adventure after all.

Too bad the music doesn't quite cue up on this clip.
WELCOME!!!! It's how it was originally done. It's funny how the songs refine over time!

I see it more like the first verse (Gotta go to Tulsa) is the protagonist talking to his compadres and the second verse (ain't no place a man can hide) is the protagonist thinking or writing to his woman (Shannon).
 #97422  by mijknahs
 Mon Apr 25, 2011 11:19 pm
Shannon is also a man's name. One of our old guitar players has a brother who's name is Shannon (Irish name).

The Jack Straw character (played by Bobby) is speaking to Shannon (played by Jerry).
 #97447  by mijknahs
 Tue Apr 26, 2011 1:06 pm
Always love to share good sharing Mr. SPAMBOT!
 #163765  by old man down
 Wed Dec 12, 2018 5:49 pm
Just thought I'd revive this thread since the original YouTube I had posted went black.

Voodoonola2 has this one up, over six years now, works just fine, and will probably hold up a lot longer.



Below, I've cut in on the "cool" part since this is where the fascination of the song lies.

https://youtu.be/pt67BUeQ1-Q?t=1326

Here we get a good view of Weir's chording on the chords. If you'll notice, he's up around the 7th/6th frets, and then the 9th/8th frets.

I've been able to duplicate his sound there, but the theory still remains elusive. Needs a breakdown of how this differs from the 2nd fret areas.

Here's a good link on this section of the song, the comments at the end, within these dates May 29 — June 13, 2015:

https://r.search.yahoo.com/_ylt=A2KIbZx ... jVy9eGwwM-

I intend to pursue this a little more in this thread, theoretically, as to why the few notes Weir is chording work so well.

What makes it such a sensational place to play the chords is the lead notes of Garcia are right there, too.

So, you can interchange readily between both of them for a solo acoustic rendition, and the feel is so light that you can probably sing the verses, too.

To be continued…
 #163772  by lovetoboogie
 Thu Dec 13, 2018 11:38 am
old man down wrote:
Wed Dec 12, 2018 5:49 pm
Just thought I'd revive this thread since the original YouTube I had posted went black.

Voodoonola2 has this one up, over six years now, works just fine, and will probably hold up a lot longer.



Below, I've cut in on the "cool" part since this is where the fascination of the song lies.

https://youtu.be/pt67BUeQ1-Q?t=1326

Here we get a good view of Weir's chording on the chords. If you'll notice, he's up around the 7th/6th frets, and then the 9th/8th frets.

I've been able to duplicate his sound there, but the theory still remains elusive. Needs a breakdown of how this differs from the 2nd fret areas.

Here's a good link on this section of the song, the comments at the end, within these dates May 29 — June 13, 2015:

https://r.search.yahoo.com/_ylt=A2KIbZx ... jVy9eGwwM-

I intend to pursue this a little more in this thread, theoretically, as to why the few notes Weir is chording work so well.

What makes it such a sensational place to play the chords is the lead notes of Garcia are right there, too.

So, you can interchange readily between both of them for a solo acoustic rendition, and the feel is so light that you can probably sing the verses, too.

To be continued…

Here are Weir's grips for that little section...he plays them as stacked thirds otherwise called piano voicings...

Made a little vid, hope this helps...


https://photos.app.goo.gl/s7NBH7xyGs8Z8drR7
 #163775  by old man down
 Thu Dec 13, 2018 10:31 pm
Alright, lovetoboogie.

Let me try what you've shown for a while, to see if I can get those chords to come to life for me.

I'll also want to see if Bob is clearly doing those notes from the Copenhagen video.

Your chords look really "hard to get used to," while it seems that Bob did them "without even blinking an eye."

Btw, never have I seen anyone lay things out so clear on this critical segment. (Just another hallmark of the Rukind website.)

And I like your description of "piano voicings."

This is exactly what I'm hoping this thread will flesh out.

Thank you.
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