![]() On the musical front, a few things might turn off Deadheads who prefer the raw, bare-bones sounds of the seventies and eighties. ![]() Through these dates at least, the apparent association of the final stage as a whole (92-95) with the band’s increasingly erratic musical performances and Garcia’s ultimate decomposition, is unwarranted. ![]() In the course of exploring the band’s later years, I listened to seven consecutive shows from the summer of 1993: the last five of the June tour and the next two in Oregon in August. ![]() All these factors could contribute to an unpleasant experience.īut the line has become blurred between these factors, real as they were, and the quality of the music. Gate-crashing became an increasingly common phenomenon, and hard drugs on the periphery brought an increase in crime along tour stops, prompting an attitude among police and security that was stressful across the board. In the same period, the concert-going scene had come to a rather ugly place. These late changes were somewhat unpopular with audiences: there was the lukewarm reception to the new keyboardist, the impersonal nature of the venues, and the perceived disconnection between musicians and the audience corollary to each having his own sound-mix instead of reacting to the sound of the audience and stage. ![]() To some extent, of course, this is true: “Leviathan Dead” saw venues averaging a record 22.6 thousand seats, the lineup had reached its final incarnation, and the last of the logistical sound innovations had come about, specifically the removal of amps from the stage and the replacement of onststage wedges with Ear Monitors (the former had been a Healy idea, the latter an innovation by Future Sonics founder Marty Garcia introduced to the band during their 1992 tour with Steve Miller). The year 1993 tends to get lumped into “the end” of the Grateful Dead. ![]()
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