China Cat Sunflower > I Know You Rider is one of the quintessential Dead sequences. Once these two were paired it was extremely rare to get one but not the other. 1974 is a well-respected year for this combo as the transition jams tended to be exceptionally good. There are a number of very good options to choose from, but this time around I opted for this version from Dick’s Picks, Vol. 31.
I like me some Phil and he’s all over this one so do give it a listen.
Have suggestions for other officially released versions I should consider? Leave them in the comments.
The feel changes pretty quickly after all the singing is done and Billy bangs out a steadier beat. It sounds like they’re already working on the Rider transition. Phil and Jerry are all over the place and it’s wonderful. It’s pretty obvious that everyone is grooving pretty hard on this one, as the pace seems to quicken. Bobby chops through chords like a seasoned woodsman. He plays support with Keith while Jerry and Phil drive the ship.
The band almost forces their way into I Know You Rider. The waning transition jam just POPS at the switch. Rider is well played, and well sung, for the most part. Jerry’s solo at the half way points once again cooks nicely and Phil maintains his iron grip on the backbeat. The final, primarily a capella chorus signals the end. A few extra noodles from Jerry and Phil for good measure and the crowd roars their approval.
Complete Setlist 8/5/74
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3/23/74 and 5/17/74 are two of my favorites
It seems like the boys had a couple of really stellar shows in Vancouver in 73 and 74, eh? The 6/22/73 show has a really nice Bird Song if I remember correctly.
But those 74 China/Riders tend to be a step above. Thanks for the comment!
I really love the CCat>Riders from ’74 (and ’73). They’re often special, and the jam in the transition (especially in this era) is a great example of what I love about the Dead.
Like many heads my age (born in 66), I started out listening to a lot of 80s shows and looking for the most recent show I could find (my first show was summer ’90). Not long after I got really into tape trading, my wife and I bought a house in the country and one night I was driving home from work listening to 12-12-90. The set ended and some filler came on; I’m not a big fan of filler in the middle of the show but I was driving so whatever. It was a CCat from ’73. By the time I heard the transition I was so into it I literally missed my turn by a mile and had to turn around to get home. It sounds a little melodramatic to say it but that moment changed my life (at least a little). The filler was from 2-17-73 and I dove into 73/74 and have favored those years by a mile ever since.
As for official releases, 6-26-74 comes to mind right away. I think the vocals for this combo are better than ever around ’89/90 but vocals aren’t usually the main reason I listen to the Dead.
Mike and Lunchbox,
Great posts and agree with this pairing and the sometimes surreal transition between the two. Mike like you this transition was my holy shit moment and the one that motivated me to listen more closely to the Dead. Over a hundred concerts and a big bump to my credit card later, still enjoying the dead most days. Really not sure what a head is, do you self qualify, do you need someone to label you, do you have to fill out a form and or could you be one and not even know it ? Could you even listen to and read about the Dead almost daily and not be a head ? All questions that are not worth pondering.
Not sure either of you have seen this on youtube “I married a Deadhead” on youtube. The link is below, but not sure how to post it so you can simply click on it. Know how to do that via a blog, but tried to figure it out this am. Too much time needed to pull that off right now. The whole video kills me and the transition section is priceless. You both should enjoy if you haven’t yet. Feel free to repost the link the proper way if you want.
http://www.youtube.com/watch?v=62T9ESyOtJo&sns=em
Mike – That’s a great story, thanks for sharing. I never realized how strongly some people felt about filler until recently. Personally, I think it’s great, especially in the digital age, it seems like a non-factor. I guess in the days of tapes and CDs I can understand a bit more because of the flow factor. But nowadays it seems like a moot point. YMMV of course!
I do agree that the 6/26 version is hot. I strongly considered that, and might have to revisit it again soon.
Joe – Pondering the big questions, eh?! I’m generally of the opinion that if one thinks they’re a Deadhead then they are. Thanks for post the video, too. I hadn’t see that particular one, but I remember seeing a similar one a few years ago when this type of video first came out. The was saying how he needed more tapes and the wife was flipping out. Couldn’t find it with a quick search, but it was really funny. Talked about the new Hunter Seamons matrix of 6/22/73 and the killer Bird Song, etc. That level of specificity just killed me and it probably the only reason I remember the video. Regardless, I appreciate the chuckle!
Lunchbox, I like your theory on what it means to be a deadhead. My wife is a perfect example. She was going to shows before I was but she couldn’t tell you what they played at any of those shows, she doesn’t remember dates, and doesn’t care what the next release is. She went to a lot of shows, though, and loved every minute of it. It’s like what David Gans wrote in his essay about how the Dead are like baseball: some are diehards, some are stat keepers, others just go to have a good time and others go because they’ve always gone. I should find that essay since baseball season is just underway.
China Cat Sunflower
The band eases into this smoothly and with promise. Weir adds his guitar-figure icing a few bars before Garcia enters with the first verse. The vocals are undermixed, a problem exacerbated by Jerry barely spitting out the words in the first place. As the instrumental middle hits, Phil drives home some huge bass chords and perhaps gets this thing moving a bit more. Garcia is somewhat meandering in his lead parts here, but he gets the structure back in shape enough to sing the last verse. Before 3:45 we are off on a jam that given its advertised length may be worthy. At first, this sounds like many transition segments between this and the inevitable next song, although I will say that Weir’s guitar parts are top-notch and completely unique to his twisted ways. Coming up on 6:00 it sounds like the dive into “Rider” is just about to happen, but it does not. Instead, an extended Garcia lead just rollicks along happily for a good while, sometimes broken up by Lesh inserting various ideas, including riding one note for several bars and an almost-Mind-Left-Body jam followed by an actual one. After one of the longest transition segments between these two songs, the boys finally let go of it and ride that D-chord into…
I Know You Rider
This begins better than expected, given the earlier vocal mis-steps. But musically there are some toes being stepped on here as the second verse begins. Oh, well. Garcia lights up the solo with renewed interest and the momentum is finally strong. Coming back into the vocals, things are looking up and the “headlight” verse is exuberant fun. From here, the ensemble chorus works wonders then Jerry has another shot at bringing it to fruition. He doesn’t do too badly, and the ending chorus is an out-of-time, stumbly-but-endearing exit. The take-a-step-back game follows.