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| Grateful Dead | Primary Artist |
| Jerry Garcia | Guitar, Vocals |
| Bob Weir | Guitar, Vocals |
| Donna Jean Godchaux | Vocals |
| Keith Godchaux | Piano |
| Bill Kreutzmann | Drums |
| Phil Lesh | Bass Guitar, Vocals |
| Ron "Pigpen" McKernan | Organ, Harmonica, Vocals |
| Woody Guthrie | Composer |
| Mickey Hart | Composer |
| Jerry Garcia | Composer |
| Grateful Dead | Arranger |
| Bob Weir | Composer |
| Robert Hunter | Composer, Liner Notes |
| Trade Martin | Composer |
| John Phillips | Composer |
| John Cutler | Producer |
| Lee Hays | Composer |
| Bill Kreutzmann | Composer |
| Phil Lesh | Composer, Producer |
| Ron "Pigpen" McKernan | Composer |
| Jeffrey Norman | Mastering |
| Dick Latvala | Tape Archivist |
| Alembic | Engineer |
| Alemóic | Engineer |
Anonymous
Posted October 1, 2010
What Grateful Dead wanted most was to make people happy. In 1972, they were still young and filled with the vigour of youth from their early psychedelic phase pre Workingman's Dead. The fact that many of the original six members of the band had lost family members, not to mention Pig Pen's steady decline from liver failure, made them more poetic and grown up in a sense. That is what I believe. The songs went from personal story telling (Dark Star, Other One) to more wide mystical songs like He's Gone or Truckin'. Keith's piano was a jazzy blanket to sooth the most intense jams of the early 70's Dead shows. I believe Hundred Year Hall featuring Keith and Donna Jean, still with Pig Pen and without Mickey Hart, is a jazzy reminder of what was then and what is now. Truckin' is the most rockin' version yet. I have to tell you, I listen to the songs on here that appear on Europe '72 and Skull And Roses and they don't hold a candle to these songs. Truckin', as I said, is rockin' even though Bobby's lyric's are a little hard to hear. However, the chorus is angelic and I have to tell you, I haven't heard anything like this since a certain performance of Viola Lee Blues on 2-2-68. After the final verse, they go into a jam for about seven minutes before going back to the last verse one more time. All of a sudden, it goes from rockin' to dreamy and psychedelic. They are going back in time to the daze of Haight Street and Merry Pranksters. Billy goes into a drum solo and out of the musical ashes comes The Other One played in such a beautiful way, paling in comparison to no other song except maybe the Mountain Jam on Eat A Peach. Even at a long 36:29, it still ends kind of fast for me. But it keeps me smiling. When the monster goes down the icey - holy cow I'm listening to it now and it's really ending? Wow! I wanna hear it again. Oh, I'm smiling. Oh well. That was fun! It ends gently and then Jerry goes into Comes A Time which is kind of like Wharf Rat. Nothing like a nice melody as a whisky chaser to the previous two monsters. Finally, prepare yourself for the greatest Sugar Magnolia ever played. On another note, I'd like to mention that China Cat Sunflower is also top notch as is its traditional follower I Know You Rider. You know, they should have children learn the lyrics to China Cat Sunflower without the queen Chinee lyrics, I never cared for those. But maybe if we want to stop Global Warming we should sing this song every day and replace it in schools with the pledge of allegiance. Yeah, I'm not capatalizing it, wanna fight about it? Oh yeah did I mention The Other One?
Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.Anonymous
Posted October 1, 2010
Disc 2 features the most intense Cryptical Envelopment I have ever heard. I would say this is probably my favorite Dead recording yet.
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Editorial Reviews
All Music Guide - Lindsay Planer
For many Deadheads, the release of Hundred Year Hall: 4-26-72 (1995) in September 1995 is inextricably linked with the passing of Jerry Garcia (guitar/vocals) a few weeks earlier. This double-CD features just under two-and-a-half hours of highlights from the Grateful Dead on April 26, 1972 at Jahrhundert Halle in Frankfurt, Germany. The band was in the midst of its Europe '72 excursion, not to mention a state of transition. Chronic health issues would force co-founder Ron "Pigpen" McKernan (vocals/organ/harmonica) off the road for good in less than two months. Ultimately in his stead was the recent arrival of the husband and wife team Keith Godchaux (piano) and Donna ...