2,000 CROWD PAULEY PAVILION TO HEAR DEAD, PURPLE SAGE
The scoreboard over the arena floor should have read Concert Goers - 10, Pauley Pavilion Ushers - 0 at last Saturday's Grateful Dead-New Riders of the Purple Sage concert.
The sounds were good, despite acoustical problems of presenting a rock concert in a basketball arena. But at times, the audience couldn't have cared less.
As the lights dimmed for Purple Sage's nearly two-hour set, people began dropping like flies from the arena-level seats onto the playing floor where those with $5 tickets sat and danced.
The ushers stood - either helpless or uncaring - as the group made the 12-foot drop. They also stood by watching and absorbing the strange smells wafting through the arena as many people smoked marijuana.
More than 400 joined what was already a sellout crowd and swelled the ranks to nearly 2,000 standing, sitting, bobbing and dancing bodies.
During the concert, which was broadcast live on FM station KMET, balloons and frisbees flew through the air and the crowd rocked to the sound of Purple Sage and the Pig Pen-less Grateful Dead.
Purple Sage brought the audience to its dancing feet with the lively sounds of Johnny Otis's "Hand Jive." The performance was good and kept the attention of the crowd, which waited patiently for the Dead.
Although suffering from the absence of Pig Pen (Ron McKernan) who is recuperating from a kidney operation, the Dead played two sets and sounded like a different group each time.
For the first 90 minutes, they seemed oblivious to the people, spending as much as five minutes between songs retuning their guitars and trying to get the bugs out of the sound equipment.
But after a half-hour break, they returned and played the song "which rocketed to the number one spot in Turlock, Calif. within a week," "Truckin'." It was the beginning of a second 90-minute set which included 25-minutes of jamming, some Chuck Berry tunes from their new album, and "Casey Jones."
The Dead, in the old Fillmore West-type informal setting, played to the crowd's highest expectations during the second set. It was only too bad that the sound system gave them as many problems as it did.
(by Kathy Lemmon, in 'The Now Generation' column from the Santa Ana Register, November 25 1971)
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GRATEFUL DEAD / NEW RIDERS
PAULEY PAVILION, U.C.L.A. - When the Grateful Dead come to town it's a real event, and this college concert was no exception. License plates in the parking lot indicated attendees from all over Southern California and, no doubt, most felt this to be one of this year's real biggies.
There was dancing on the lower level and fairly comfortable seating for those of us who vastly prefer such arrangements. And - glory be! - the back of the stage area was roped off so that nobody was forced to sit behind the Warners' group. This should be the practice of every group and every promoter but, sadly, isn't.
The music went on for hours; again, Dead fans were probably thrilled. Selections from albums going back to the first were presented, plus additions such as "El Paso." Pianist Keith Godchaux more than filled in for an ailing Pigpen; he's now a permanent member of the group. (Mr. Pen will in the future, forsake his organ playing and concentrate on singing "Good Morning Little Schoolgirl" and "Turn On Your Lovelight.")
Second-billed were Columbia's New Riders of the Purple Sage, who started as sort of a Dead equivalent to the Airplane's Hot Tuna but who have now apparently given up any sharing of personnel - they have their own steel guitar player and drummer. They performed an opening set that ran for at least an hour. Most of the songs were from their first album, with a couple of ringers like "Down in the Boondocks" thrown in.
Both bands are pretty good for the idiom (long-haired pseudo-country) that they have chosen to work in. And they put on a pretty good show, even if the Dead seemed to take ten-minute breaks between every number.
(by T.E., from the NY Cash Box, December 4 1971)