Revisiting Oregon - 17th January 1970 ::

Although at a transitional period in the band's history, The Grateful Dead matured in the early 1970's, incorporating their country rock tinged sound that would feature in their best and most enduring two albums, Workingman's Dead and American Beauty, with their already established, but still improving psychedelic sounds.

Blending both of these genres in concert was always going to be difficult, but the Oregon Statement University Gym, at Corvallis, Oregon concert shows that when the Dead succeed, they hit the jackpot.

The recordings of this concert are a little muddy, but are very listenable. The remastered version of Cumberland Blues on Workingman's Dead show that there is a high quality, master of this concert in the vault somewhere ready for the Dick's Picks treatment.

Starting their set with Dire Wolf, the Dead play one of their majestic and best loved songs off Workingman Dead. It's debatable whether this song is actually from this date, but the overall performance, sound and vibe of Dire Wolf fits nicely with the rest of the show.

After Dire Wolf, the band go back into the familiar territory of the China Cat Sunflower > I Know You Rider. A musical combo that would stick together for the rest of the band's performing career, the performance of the two songs is inspired and spirited. The segue is delightful and enjoyable with everybody helping out vocally for I Know You Rider.

Diving into the standard Pigpen number Hard To Handle, the performance is typically sloppy, but highly enjoyable due to Pig's enthusiasm and vigor. Cumberland Blues is played next; one of the most under-appreciated songs off Workingman's Dead, that gets it's crowing glory as the first song off the Dead's live Europe '72 album. Although not at it's matured best, the song is extremely well played.

Next up is the trusty Me & My Uncle. Over the years this song has been played so many times I'm sure I can recite the lyrics backwards (something no-doubt Bob Weir even couldn't do...). The performance is nicely played; not the best version ever played, and far from the worst version ever committed to a master reel.

Black Peter is played very nicely, with Jerry singing very strongly, which he will will continue to do throughout this concert on the more slower, bittersweet songs on the setlist. The highlight of the concert in my opinion is the barn burning Good Lovin'. One of Pigpen's best versions - the whole of the band lends a hand to churn out the lyrics passionately. Good Lovin' rarely got better than what it is on this show.

Next up is the criminally shunned Mason's Children. I love this song - how can the Dead leave this gem of a track off Workingman's Dead? There was plenty of room on the album that's for sure... In my opinion the Mason's Children here on this recording is the best ever version they ever performed live. At six minutes long there is even some very inspired jamming interlaced in the track.

The jamming out of Mason's Children slowly transfuses into the opening notes of High Time, the most beautifully sung and played off Workingman's Dead. Jerry sings the song beautifully; at some points screeching at the top of his voice trying to hit the high notes. After the Workingman's Dead songs are played, the last segment of the concert concludes into familiar territories for both the audience and the band members.

Jumping from two extremes, the Dead dive from the most country tinged period of the concert into the most psychedelic. Starting with Dark Star, they slowly move into Saint Stephen and then The Eleven. At nearly twenty minutes long, Dark Star transports back and forth through some familiar territories, and one or two unique location for this song. Not the most intense version I've ever heard, but still as majestic nonetheless.

The Saint Stephen that is played is as top notch as any other versions as you would find. Transfusing into The Eleven, the song is sung well - there's no obvious flubs from Jerry or Bob.

With the fire that is Saint Stephen > The Eleven slowly burning out, Pigpen gets the party starting again with the , Turn On Your Lovelight. Always great to hear live, the song erupts on the first note and continuously funks along throughout. The recording abruptly cuts off the song at thirteen and a half minutes; it's unknown how much of Lovelight is missing, but it doesn't seem that much.

Overall this concert is one of the best recordings of the early January run of shows of 1970 we have. Better versions of the concert have appeared in the early 1990's; rekindling interest in these shows.

What makes this concert so special is the feeling of the performance. Although this similar setlists has been played already in early January, notably the performances of the Community Concourse and the Fillmore East, this show brings together the best elements of the earlier performances.

Sound wise, there are more clearer, sonically brighter shows from this period. While other shows have a cleaner, brighter sound, oddly this detracts from the overall feeling of the concert. One of the things that I like about the Oregon show is that it's not so much in your face as other shows from this period, and therefore you can listen to this recording very easily in the car, the bath, or wherever else you need to feel the musical vibe of the Dead.

There is a slight background hiss, but it's so quiet that you cannot hear it and it doesn't distract from the performance.

There are better, earlier shows from this period, notably the Fillmore East late show of the 3rd January, but if you're looking for a charming show to compliment other shows from this period, this show is a must.

Although this concert will be overshadowed a few weeks later with quintessential performances at the Fillmore East in New York that will reach the peak of what was undoubtedly started here, this concert is a testament of one of the most important and enjoyable periods of the Grateful Dead.