Time: February 03, 2018 19:00
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Live Dead 69 perform “Skull & Roses ’71”

19.00 Doors
20.00 Support
20.45 Live Dead 69
23.00 Curfew

AGMP presents


performing “Live Dead 69” and “Skull & Roses ’71” in their entirety over two exclusive nights.


TOM CONSTANTEN – Original Grateful Dead Pianist

SLICK AGUILAR – Jefferson Starship Guitarist

MARK KARAN – Bob Weir Ratdog/Other Ones Guitarist

RICH NEWMAN – Paul Rodgers Drummer

TONY MORLEY – Jefferson Starship Basssist

All Star Line up performing the first two albums by The Grateful Dead in full.

Tom Constanten was the pianist with The Grateful Dead and he returns to London’s Under the Bridge with an all star line up featuring members of Jefferson Starship, Bob Weir’s Ratdog and David Crosby’s Band after bringing the house down at their last Under the Bridge concert.

Along with performing the “Live Dead 69” album, this time the group take on the “Skull & Roses” album from 1971 in it’s entirety. This was the second live album released by The Grateful Dead and their first certified Gold album.

Tom Constanten originally started performing with Steve Reich & Terry Riley. His friendship with Grateful Dead bassist Phil Lesh led to him joining the band in 1968. Mark “Slick” Aguilar is best known as the guitarist with Jefferson Starship. He has also worked with the David Crosby Band, Buddy Miles and KC & the Sunshine Band. Mark Karan is the guitarist with Bob Weir & Ratdog. Mark has also toured with Dave Mason, Paul Carrack and was chosen to fill the slot of Jerry Garcia in 1998 with The Other Ones, a band featuring former members of The Grateful Dead.

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Comment: 1

  • Jacques Paille de Wichita

    Reply 18-01-2018 3:20 pm

    A potential problem for performance practice? The sequencing of the CD reissue of the 1971 ‘Skull & Roses’ live album has always been a source of some annoyance for me. It starts with a group of four short songs and then includes a long rambling jam (= ‘The Other One’), returning to another five short songs before reaching the ‘Not Fade Away/Going Down the Road Feeling Bad’ finale. That long jam seems out of place in the sequence. From my knowledge of other Dead releases, I think it would appear later in a performance, so what is it doing there? One explanation might be that this album does not represent a single unitary set list. It is a selection of ‘bleeding chunks’ taken from a variety of sources, although the majority come from a residency at the Fillmore East in New York over Easter 1971. The criteria for selection are also complex – the time limitations of vinyl long-playing records being one criterion, and the appearance of certain repertoire on previous releases precluding the prospect of repetition being another. However, it may be argued that the logic informing the ordering of material across four sides of vinyl is also problematic. Following on from classical recording practice, the ordering of a recorded sequence of four movements “ABCD” across two LPs could be arranged as follows: Disc 1, Side 1: A; Disc 2, Side 1: B; Disc 1, Side 2: C; Disc 2, Side 2: D. This would enable a radio DJ equipped with two turntables to play the entire sequence uninterrupted from two discs by flipping one when the other is playing. The problem is that remastering the vinyl LP to a compact disc, using the sequence Disc 1, Sides 1 & 2 followed by Disc 2, sides 1 & 2 would result in the sequence “ACBD”, which I think has produced the anomaly described above. This practice is not uncommon and has caused much consumer dissatisfaction (see for example, the customer reviews of the Isaac Hayes double LP ‘Black Moses’ remastered for CD). The CD transfers of many ‘classic’ live double albums seem to bear little resemblance to their vinyl origins, see for instance Grand Funk Railroad ‘Live Album’ (different sequence) and Ten Years After ‘Undead’ (enhanced repertoire & different sequence) though it may be argued that the resequencing of such material (a) restores the order of songs in the original performances and/or (b) takes advantage of the time duration of CD when compared to LP, enabling the programming of long/long/long pieces in sequence, and/or (c) enables longer unedited versions of songs to be included.
    So how will Mr Constanten and his band approach it? A performance of the 1969 ‘Live/Dead’ album would appear to offer fewer problems because the published sequence follows a particular internal logic that attempts to replicate the different stages of a Dead live performance, but a similar logic is absent from the published sequence of the 1971 ‘Skull & Roses’ live album because it replaces an entire performance with a series of discrete and discontinuous extracts that share scant common connections. One approach, of course, would be to simply ignore the above arguments and steam through the set in the published sequence. However, that would be to ignore the context of the album and its particular qualities. An attraction of the latter album is the way in which it premiered hitherto unrecorded band compositions in the context of a live album – ‘Bertha’, ‘Playing in the Band’, ‘Wharf Rat’. A number of cover versions are also presented, the more successful ones being ‘Me & Bobbie McGee’, ‘Big Boss Man’ and ‘Mama Tried’. Considering that the album tracks are taken, at least in part, from the Fillmore Easter 1971 residency, as documented by the Arista ‘Ladies and Gentlemen …’ box set, we should also bear in mind that Mr Constanten guested during that weekend on a performance of ‘Dark Star/St Stephen’ (it’s on Disc 3). Hence, I for one would not be unhappy for a ‘Not Fade Away’ finale to be preceded by ‘the transitive nightfall of diamonds’ on Saturday night. So how about it?

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