All of the Inspiration: Celebrating 40 Years Of Terrapin Station videos can be viewed here along with a deep dive into the history the multi-part “Terrapin Medley.
Grateful dead terrapin station series#
The Inspiration series culminated with the various parts of the “Terrapin Medley” suite recorded by Railroad Earth, moe., Stanley Jordan, Strangefolk, Moonalice, The Mountain Goats, Dan “Lebo” Lebowitz, Jake Peavy, Holly Bowling, Poor Man’s Whiskey, Grahame Lesh & Kirby Lee Hammel, Eric DiBerardino and others.
Follow this link to read much more about the history of “Estimated Prophet” as well as live performance of the song from the 2017 High Sierra Music Festival Terrapin Station 40th Anniversary Playshop featuring a band made up of guitarists Dan “Lebo” Lebowitz and Stu Allen, bassist Murph Murphy, keyboardist Jordan Feinstein and drummer Ezra Lipp. JamBase celebrated the 40th anniversary of the release of the Dead’s album Terrapin Station with the Inspiration: Celebrating 40 Years Of Terrapin Station video series published in 2017. Both “Terrapin” and “Estimated” would be performed live by the legendary group more than 300 times. The show opening and subsequently very rare first set “Terrapin Station” was followed by “New Minglewood Blues” and “They Love Each Other,” before guitarist Bob Weir led the group featuring guitarist Jerry Garcia, bassist Phil Lesh, keyboardist Keith Godchaux, vocalist Donna Jean Godchaux and drummers Bill Kreutzmann and Mickey Hart in the band’s first performance of his “Estimated Prophet.” Also recorded as the lead track for the Terrapin Station album, “Estimated” went on to be the Dead’s most played song of 1977. The show at the Swing not only saw the live debut of “Terrapin,” but another staple of the band’s future setlists, “Estimated Prophet,” was played for the first time as well. Right from the start, the band offered the newly composed “Terrapin Station,” which would soon take up the entire second side of its namesake LP released later in July. This two-disc set not only captures the band exactly two months and two days prior to the release of Terrapin Station, it also features stellar performances of every track from the album sans the up-tempo rocker "Passenger.The first show the Grateful Dead played in 1977 took place 44 years ago today at Swing Auditorium in San Bernardino, California. Parties interested in examining the contrast between the studio and live performance versions of Terrapin Station material should seek the archival concert release Dick's Picks, Vol. Luckily, their extended versions during concert performances were infinitely more tolerable. What was once a garage rock and psychedelic reading has evolved into a 4/4-time, brass-influenced disco arrangement. Gary Davis gospel-blues "Samson and Delilah" and a resurrection of the Martha & the Vandellas hit "Dancin' in the Streets." The latter tune was originally performed by the Dead in their mid-'60s repertoire. While the most prominent example is the album's extended title suite, there are a few others such as the cover of the Rev. Musically, Terrapin Station offers a few choice glimpses of the band doing what it does best. They chose Keith Olsen - a former member of the '60s garage rock band Music Machine - whose production roster also included other Bay Area notables including the Sons of Champlin and Santana. And the first time in a decade that they would relinquish their production reigns. lyrics: lady with a fan' let my inspiration flow in token lines suggesting rhythm that will not forsake me till my tale is told and done while the firelight's aglow strange shadows in the flames. This was only the second time in which the Dead did not seize complete control. More significant however is the use of an outside (read: non-Grateful Dead) producer.
Terrapin Station marks several milestones for the Grateful Dead: it was the band's first studio album in two years, as well as their return to a major label - in this case Arista Records. The theory is that the band's momentum is best experienced during the ebb and flow of a live performance rather than the somewhat clinical tedium of a recording studio. It is generally agreed that the Grateful Dead's late-'70s studio releases left even the most enthusiastic Deadheads longing for something more.
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