1970 saw the continuation of The Grateful Dead’s growing pains. Some shows featured 3 sets (plus a New Riders set in between, with Jerry on pedal steel) and acted as a testing ground for new material. The acoustic sets featured fun covers but always centered around new songs from Workingman’s Dead.
It wouldn’t be unnatural to hear acoustic ballads, a guest sit-in and a “Good Lovin’” medley right up against an increasingly rare “Viola Lee Blues” or “Alligator”. You just can’t predict any of these shows, unless you’re predicting low odds on audio fidelity. Bear fought the band regarding volume for every single acoustic set throughout the middle of 1970, but at least it’s good for stage banter.
“Don’t Ease Me” In kicked off many of the acoustic sets in this era, as it was well equipped to deliver energy right out the gate.
Only a handful of versions can be found for “How Long Blues”; this is my favorite and likely the best recorded version. You can almost hear the ’80 acoustic sets in a primitive form. It’s not just an acoustic performance, it’s the band transcending their electric sound and forging a new one.
“The Friend of the Devil” is not to be missed. The song was not yet written/performed in 1969, and it would be shelved prior to 1971, making this studio-perfect version a rarity. Listeners who are tired of the slower, more reggae versions will be relieved to hear this brisk performance.
Workingman’s Dead is well represented in this compilation, with “Black Peter”, “Candyman”, “New Speedway Boogie” and “Cumberland Blues” making fine appearances. In fact, every song from the album save for “High Time” can be found on this compilation. Speedway and Cumberland feature Jerry on electric, and Cumberland features a second acoustic guitarist, possibly Pigpen according to show notes. Check out the 5.1.70 acoustic set; it is the source for the Speedway and “Wake Up Little Susie” heard here.
“Easy Wind” kicks off the second set, as it did so often in this era. The recording here is a little scratchy but full of roadhouse energy. The tune would only be performed three times beyond 1970!
“Morning Dew” brings a somber tone to the proceedings, weighing in at 11 minutes and featuring heavy guitar work toward the outro.
Pigpen takes control for “Next Time You See Me”, before a few “new tunes”. Jerry rarely (I don’t remember hearing it other than 5.6.70) sang harmony on this tune throughout the verses - he usually just sang on the chorus.
“Brokedown Palace > Uncle John’s Band” are the latest recordings on this compilation, coming from a TV studio performance on 8.30.70 - hence the lack of crowd noise and otherwise unique presentation. Brokedown is upbeat and deliberate, while “Uncle John’s Band” features ornate percussion and tight vocals, including the outro “da da da” vocables that would soon vanish completely.
A 17-minute “Good Lovin’” segment is next, followed by “St. Stephen”, nearing the end of its first life cycle. Stephen segues into “Casey Jones”, which closes the set.
The third set begins with a whisper and goes out with a bang. An early (the 5th) “Attics of My Life” sets the tone. This recording is very dynamic, so ride the volume knob if you need to; over compression would only bring the tape noise to an unbearable level. “Dire Wolf” is next, and the 6.6.70 performance took place exactly one year after its debut.
It seems like the drummers didn’t know what would come next, but they wanted to keep a seamless set, so they meander until Jerry begins “Alligator”. By summer ’70, “Alligator” was a bonafide rarity, and it would only be performed 3 more times after 6.6.70. This performance is not their best, but it leads into some inspired playing - first, Drums.
True jams became more rare as the Dead aged, but the jam out of drums is pure improvisation. Hints of “We Bid You Goodnight” show up around 8:40, and it’s fun to hear it in an electric setting without vocals. I’m of the opinion that some jams in the ‘80s and ‘90s would have passed into legendary territory if they were played on the same gear available to the Dead in the ‘70s. It’s easy to get caught up in poor tones - but fear not, the tones here are raw and powerful. Listen beyond the fantastic tones and you’ll find inspired backing from the drummers, Bobby and even Pigpen.
If the less-than stellar “Alligator” has you scratching your head, the jam and ensuing “Turn On Your Lovelight” should validate this entire passage. Pigpen’s vocals are strained at first, but he clears up and brings the heat. Fortunately he is willing to go out on a limb with his rap. He almost sounds like he’s been working on standup material. This Lovelight includes his standby “great big thighs, working undercover with a boar hog’s eye” bit, along with pocket pool riffs. (Conversely, check out the Janis Joplin Lovelight on 7.16.70 for an uninspired rap-less version.)
The Lovelight presented here sandwiches what must be one of the shortest “Not Fade Away” performances, totaling only 4:18. On paper this Lovelight clocks in over 33 minutes (with a tape cut), but you’ll find that the sections are varied enough to keep it interesting.
“Cold Jordan” closes the show, with a few familiar friends adding vocals and mandolin. This traditional religious ballad was played 13 times total - 12 were in 1970. I found that it was most effective as an encore, as performed 5.14.70.
While this era is fraught with bad tapes (Bear experienced myriad technical problems as well as incarceration) there are some great shows to hear. Check out the Hawaii tape(s) for some fish out of water performances, although the audio peaks often. The second set of 6.24.70 is must hear, with an 8-song segue, 3 of which are “Dark Star”.
Acoustic Set
Banter (5.14.70)
Don’t Ease Me In (5.14.70)
How Long Blues (7.14.70)
Dark Hollow (7.14.70)
Friend Of The Devil (6.7.70)
Black Peter (6.5.70)
Candyman (6.7.70)
Wake Up Little Susie (5.1.70)
New Speedway Boogie (5.1.70)
Cumberland Blues (6.7.70)
Running Time: 48min
First Electric Set
Easy Wind (7.1.70)
Morning Dew (5.15.70)
Next Time You See Me (5.6.70)
Breakdown Palace > (8.30.70)
Uncle John’s Band (8.30.70)
Good Lovin’ (6.7.70)
St. Stephen > (5.14.70)
Casey Jones (5.14.70)
Running Time: 63min
Second Electric Set
Attics Of My Life (6.6.70)
Dire Wolf > (6.6.70)
Alligator > (6.6.70)
Drums > (6.6.70)
Jam > (6.6.70)
Turn On Your Lovelight > (6.6.70)
Not Fade Away > (6.6.70)
Turn On Your Lovelight (6.6.70)
Encore Intro (5.14.70)
Cold Jordan (5.14.70)
Running Time: 77min