NP 11: Late '73

In case you haven’t checked out much 1973, I hope this compilation encourages you to do so. It is truly one of the most consistent times in the Grateful Dead’s history of live shows - so consistent that I stretched this compilation into two “shows” using very clean lossless tapes. There are plenty of outstanding segues throughout the tour, but I couldn’t include them all without duplicating songs. 

Night One

Night one starts with one of my favorite opening segues, and it's one that slams three openers together: “Promised Land > Bertha > Greatest Story Ever Told”. After this, check out Keith’s arpeggios throughout “Sugaree”. An early fast version of “They Love Each Other” showcases Billy’s syncopation chops. 

A mini western set follows, with “The Race Is On” shining in the latter part of its heyday. The rest of the set flows with a soulful “Brokedown”, then “Jack Straw” and “Big Railroad Blues”. The closer is “Weather Report Suite”, which is a highlight of this compilation. Something about the guitar reverb and Keith’s phased-out Rhodes complement each other in ’73. 

“Half Step” rings in the second set with a roar, and “Mexicali Blues” is festive to say the least. Keith brilliantly accompanies a wah solo from Jerry on “Candyman”. The meat of the set is the “Playin’ in the Band > Uncle John’s Band > Morning Dew > Uncle John > Playin’ in the Band”. The first PITB is very jazzy - this sandwich is a highlight from the incredible 11.10.73 show. This date is one of only 8 times “Wharf Rat” appeared in the same set as “Morning Dew”.

“Stella Blue” and a loose “Sugar Magnolia” close the set before a “Casey Jones” encore. “Casey Jones” would be retired in 1974, before being pulled out for small runs periodically. This version is as slow as molasses but still fun. 

Night Two

Night two starts with “Here Comes Sunshine”, performed almost exactly one month following its release on the studio album Wake of the Flood. The show this is pulled from, 11.17, is very good with highlights in both sets. 

“Me and My Uncle”, “Brown Eyed Women”, “Cumberland Blues”, “Dire Wolf”, “Looks Like Rain”, “Ramble on Rose” and “El Paso” make for a versatile western set. “Dire Wolf” and “Ramble” share a jazzy lilt, and are laid back. “China > Rider” is energetic, and “To Lay Me Down” is sobering. “Beat it On Down the Line” and “Deal” close the set largely without surprises. Great background vocals can be found on both tracks.

Set Two kicks off with an album-faithful (for what that’s worth) and reggae tinged “Row Jimmy”. The next 70 minutes are must-hear Dead. A dark “Truckin’” evolves into the first of 3 “The Other One” segments. The first “Other One” is 15 minutes long and borders on what I’d consider a primitive Space. From here, Bobby takes a wild turn into “Big River”. In the context of this sequence, “Big River” is surreal. 

The second “Other One” leads into a 12-minute “Eyes of the World”, including the modulated jam section at the end. Then it’s back into “The Other One” and finally a contemplative “Wharf Rat”. Check out 11.14 if you like this sequence; it’s a great show.

Bringing the energy back up are the closer and encore “Around & Around" and "Goin’ Down the Road Feelin’ Bad”. Bookending the “Promised Land” opener from night one set one, the final encore for this show is another Chuck Berry cover: “Johnny B Goode”. This compilation showcases the band’s ability to master styles and make a change in genre on a dime. The diversity of any setlist is fun, and the western songs are at their best.

Night 1

Promised Land >

Bertha > 

Greatest Story Ever Told

Sugaree

Me and Bobby McGee

They Love Each Other

Black Throated Wind

Don't Ease Me In

The Race Is On

Brokedown Palace

Jack Straw

Big Railroad Blues

Weather Report Suite >

Let It Grow

Running time: 77min

Mississippi Half-Step 

Mexicali Blues

Candyman

Playin' in the Band >

Uncle John's Band >

Morning Dew >

Uncle John's Band >

Playin' in the Band

Stella Blue

Sugar Magnolia

E: Casey Jones

Running time: 84min

Night Two
Here Comes Sunshine
Me and My Uncle
Brown Eyed Women
Cumberland Blues
Dire Wolf
Looks Like Rain
Ramble On Rose
El Paso
China Cat Sunflower >
I Know You Rider
To Lay Me Down
Beat It On Down the Line
Deal
Running time: 74min

Row Jimmy
Truckin' >
The Other One >
Big River >
The Other One >
Eyes of the World >
The Other One >
Wharf Rat
Around and Around
E: Goin' Down the Road Feelin' Bad
Johnny B Goode
Running time: 96min

Click here for free MP3s!

NP10 - Summer '69

The summer of 1969 began an era of homegrown music for The Grateful Dead. Pedal steel guitars and acoustic performances started showing up with regularity early in the first set. Throughout much of the tour you can hear keyboardist Tom Constanten just barely poking through the mix, and he never seems to be very loud.

An early "Dire Wolf" starts the show; notice Bobby singing the lead while Jerry plays pedal steel. The arrangement wouldn’t last long before Jerry took over lead vocals and abandoned the pedal steel. 

"Slewfoot" is next; it is a novelty tune about a bear in the woods, and it’s fun if nothing else. This song was only performed 8 times, and all of them were in ’69. "Silver Threads and Golden Needles" closes the mini acoustic set.

"Hard to Handle" kicks off the electric set, as it so often did on this tour. "Sittin’ On Top of the World > Big Boss Man" is raucous, and Jerry’s heavy tone steals the show. 

The next 27 minutes consist of a blistering "That’s It For The Other One" suite, which segues into two new songs: the 4th performance of "High Time", and then the 5th performance of "Casey Jones". I wish the soundboard were a little clearer, but it’s no easy feat containing the sound of 7 musicians.

The third and final Pigpen outing in this compilation is "Easy Wind", in its 3rd performance. Listen for the guitar interplay; they really gel with Tom on organ. I chose the "China Cat Sunflower" due to its intensity, and the rarity factor: it does not go into "I Know You Rider". I had to make an editorial choice and create an ending, as it originally went in to "High Time", which was already represented elsewhere on this compilation. The jam in China Cat is so good, it justified the hassle and is worth the listen. 

The 28-minute "Dark Star" has a wide range of dynamics, a great lyric section, melodic instrumentals, space, wild percussion effects and a heavy outro before closing on “mirror shatters”. While this "Dark Star" actually goes into "St. Stephen", I felt that the "Morning Dew" from the same night was a better fit. The "St. Stephen" is good, though.

The listener never really knows what is around the next corner in summer ’69. Whether Pigpen is howling at the top of his lungs, Tom is maintaining their psychedelic edge, or Jerry is behind the pedal steel guitar, it’s worth a listen. 

Disc 1

Dire Wolf (6.27.69)

Slewfoot (6.28.69)

Silver Threads & Golden Needles (6.28.69)

Hard To Handle (7.4.69)

Sittin’ On Top Of The World > (7.11.69)

Big Boss Man (7.11.69)

That’s It For the Other One > (7.4.69)

High Time > (7.4.69)

Casey Jones (7.4.69)

Running Time: 50min

Disc 2

Easy Wind (8:06)

China Cat Sunflower (7.5.69)

Dark Star (8.30.69)

Morning Dew (8.30.69)

Running Time: 53min

Visit the Dropbox folder to download the free MP3s!

NP9 - Spring '92

If you’re anti-Bruce or anti-‘90s, I sincerely hope listening to this compilation can show you a new side of The Grateful Dead. Sure, their glory days were behind them and the days of meaningful group improvisation were gone; that doesn’t mean they stopped caring. Bruce Hornsby would wrap up his time with the Grateful Dead on this tour, alongside Jerry’s return to hard drugs. Vince had calmed down and found his niche in the spectrum of sound, and would continue to come into his own.

The Grateful Dead played only 55 shows in 1992, but the song variety kept things fresh. During Hornsby’s tenure (late ’90 - early ’92), he pushed the band to revive old favorites like “Gloria”, “Casey Jones”, “Here Comes Sunshine”, “New Speedway Boogie”, “Might As Well”, a run of “Dark Star” performances, and the only 4 “Ruben and Cherise” appearances among others.

Believe it or not, Spring ’92 was a period of creativity, and it kicked off the last wave of new material, including “Corrina”. Other notable versions are 3.20.92 and 3.21.92, from which numerous selections were taken and included here. This is a rewarding period if you’ve got the time.

First Set

“Help > Slip > Franklin’s” opens the show. This is among my favorite “Slipknot” performances. I think this predates the era of in-ear monitors, but either way, the band is dialed in to what everyone else is playing. If anything, there could be too many cooks in the kitchen trying to steer the jam. “Franklin’s Tower” includes the first appearance of the mysterious electric guitar MIDI patch - it’s elusive… I can never tell for sure who is employing it, considering there are already two real electric guitars in the band.

The 3.9.92 tape is a little less crowded than many others on this tour, and “Jack Straw” is a bit easier to listen to. The lyrics are tossed around from Bobby, Jerry and Bruce, in an uncommon division of duties. “Jack Straw” took on many new forms over its tenure, and that’s a testament to the songwriting of Weir and Hunter. 

“Big Railroad Blues” is one I never expect to deliver, but it can sometimes exceed expectations. This is one that exceeded my expectations, although Vince’s organ patch can't come close to matching Brent’s sound.

“That Same Thing” was the ’90s stand-in for “C.C. Rider” and an option for nights following shows that featured “Little Red Rooster”. It’s a slow burn, but this version is searing, including Bruce on the barroom piano solo and Jerry on slide.

After 16 years of exile, “Loose Lucy” came back for good in ’90. 

The LET PHIL SING crowd won on 3.5.92 when “Just Like Tom Thumb’s Blues” was performed. The song was somewhat rare, never being played more than a handful of times per year up until this point. 

“Picasso Moon” is polarizing, but if you’re gonna like a version, it’s gonna be 3.6.92. Somehow Bobby cornered the keyboardists into learning the tune note for note, and the tones are dialed in. If only Bobby could remember the first lyric. Vince is too loud, as happened too often on this tour.

“Touch of Grey” closes the first set. This version is true to the studio album (for what that's worth), with virtually no flubs to be found. It’s fluffed up and full of Vince’s MIDI tones, while Bobby’s guitar is virtually nowhere in the mix. Maybe that’s ok on this song. 

Second Set

The second set opens with “Feel Like A Stranger”, which for some reason was only played 9 times all year. You wouldn’t know it by how good this take is, from 3.16.92. Bruce’s backup vocals really add to this song. Sometimes it’s tough to tell who is playing what tone, thanks to MIDI being ubiquitous at this point in the Dead’s tenure. It sounds like Bruce uses an electric guitar tone during the jam. 

“Peggy-O” in my view is an evergreen song - it’s tough to find a run of bad versions. It gets a little Hallmark Channel-ish thanks to Vince’s saccharine tones, but this version is worth checking out.

I have a soft spot for “Corrina”, and this version from the previously mentioned 3.21 show is very good. It segues into a 19-minute “Terrapin Station” that may surprise the ’90’s haters. The outro might even be considered a jam, considering how “out” it gets, along with the duration. 

“The Other One” comes out of Drums > Space, featuring Bobby on…. trumpets. Vince is a little hot in the mix for my taste, and I even consider myself lenient. The madness melts into a dirge-like “Standing on the Moon” before concluding with one of only 9 “Lovelight”s from ’92. Bobby’s trumpets are back, Jerry busts out the sax patch, and Hornsby is on accordion. Are we in New Orleans? Nope… Toronto.

“The Weight” was a reliable encore during the ‘90s, and everyone (except Vince, of course) gets a turn at the vocals. Hornsby does a convincing Garth Hudson in addition to his ornate vocals, Phil enjoys his time in the sun singing the 3rd verse, and Jerry mimics Robbie Robertson with pinch harmonics. Weir of course gets Danko’s verse.

Take a load off and enjoy a few hours of prime ‘90s Grateful Dead. They might not melt your mind or take you to another dimension, but they just might prove that 7 middle-aged guys still have a thing or two to prove. 

- Better than you might expect 

- Bruce and Vince have carved their niches

- Jerry's voice sounds great

- Lots of MIDI

First Set
Help on the Way > (3.21.92)
Slipknot! > (3.21.92)
Franklin's Tower (3.21.92)
Jack Straw (3.9.92)
Big Railroad Blues (3.8.92)
That Same Thing (3.20.92)
Loose Lucy (3.23.92)
Just Like Tom Thumb's Blues (3.5.92)
Picasso Moon (3.6.92)
Touch of Grey (3.24.92)

Running Time: 73min

Second Set
Feel Like a Stranger (3.16.92)
Peggy-O (3.21.92)
Corrina > (3.21.92)
Terrapin Station > (3.21.92)
Drums > (3.21.92)
Space > (3.20.92)
The Other One > (3.20.92)
Standing on the Moon > (3.20.92)
Turn on Your Lovelight (3.20.92)

E: The Weight

Running Time: 86min

Click here to download the MP3s.

NP8 - Spring '83

*Sorry I flubbed and forgot to hit the pesky "PUBLISH" button in August! - I'll double down in September*

If you’re listening to spring ’83, don’t hold your breath for grand pianos, a real Fender Rhodes or as much organ as you’ve come to expect from Brent. In the era of the FM synthesizer, listeners are treated to huge range of tones. Much can be said for Brent’s ability to take Jerry to new creative places, but I think more can be said for the new flavors he brought to ‘80s Dead.

The band hadn’t released a studio album (for what that’s worth) in 3 years, which was their longest stretch between releases to date. Phil has referred to this era as a “holding pattern”, and it's true that few new tunes had been introduced. That said, new instruments and tones had invigorated The Grateful Dead, and much fun can be found in spring ’83. Here’s my take on the tour.

First Set

Things get rolling with a nicely-paced “Shakedown Street” - tempo can make or break a performance of this song. 

“Cassidy” follows, and the aforementioned synths add that special early ‘80s flavor. The mix for the 3.30 show, like others in this era, seems to emphasize the hard-panned drums, with everyone else mixed more or less down the middle. 

The 9th outing of “West LA Fadeaway” follows. This early version (the studio version wouldn’t be released for another 4 years) is embryonic and a bit more raw than the more tongue-in-cheek versions that would follow. I can’t get enough of Brent’s tones in this era, although you only need to check a few reviews to see how polarizing they can be. 

“Me And My Uncle” leading into “Cumberland Blues” is a rare treat, compared to the far more common “Big River” and “Mexicali Blues” conclusions. Jerry’s playing is inspired, and his tone cuts through the mix. 

“Althea” takes on a thoughtful, measured speed, which isn’t such a bad thing. It’s the calm before the storm that is the 4.10 “Looks Like Rain”. Phil makes sure to make the most of his low strings on the outro, which reaches a heightened volume. I struggle to think of another time where he uses these lowest-of-low notes on the 6-string.

Brent’s “Maybe You Know” wouldn’t make it to the studio, but I feel like this version (4.16) shines as the best of the 6. Most of the performances of this song found a home in odd places in the second set, hovering near Drums. But some of them were performed in the first set, which to me is a better fit, and ultimately where I chose to place it. Phil seems to have enjoyed this performance, even referencing his part after its done.

Like “West LA”, this is the 9th performance of Bobby’s lyrically-dense “My Brother Esau”. The song would be spared from the LP/CD release of In The Dark, but cassette owners would hear the studio version. I have a soft spot for this version, particularly due to Mickey’s percussion choices and the lack of background vocals, which gave Jerry the freedom to focus on guitar. Jerry isn’t quite ready to end the set, and “Might as Well” emerges from the decrescendo at the end. He’s hoarse, but the energy brings a fun close to the set. “We ‘bout gwanna take a short break now, we’ll be back, minute, you see”….

Second Set

The second set enters with a roar, with a fast “Help on the Way”. Jerry wasn’t in great vocal shape, but this is one of their most complex guitar tunes, and this version smokes. Nothing compares to the mid/late-'70s versions with Keith on the phased-out Rhodes, but that was a different band. “Slipknot!” features Jerry using the rolled-off fuzz tone, and the band giving him room to breathe. You can feel the energy in the room, thanks to an early version of Healy’s UltraMix soundboard technology.

“Franklin’s Tower” feels like it’s a few clicks faster than the preceding segment, but it’s no slouch at 13:30. If you can believe it, I think Jerry kicks it into high gear as it progresses, with “Franklin’s” ending considerably faster than “Help” started. 

One of my favorite ways to follow up this song sequence is with a “Terrapin Station”. There’s no need for a “Samson” or some other predictable 2nd set opener being played every show. This “Terrapin” is thoughtful if not pensive - don’t expect fireworks. 

If you’re a serial skipper of “Drums > Space” - do yourself a favor and stick around. This Space is straight out of the Twilight Zone reboot, if you ask me. Brent brings some arpeggiated digital synths to the forefront, under Weir’s feedback and the occasional percussion. Phil seems to be mostly absent until the first signs of “Truckin”. Check out his pitch bending effects, which he used throughout the tour and even into the next year.

“Truckin” allows the increasingly rare (in this era) usage of the Hammond organ, and it harkens back to a bygone era. Weir’s voice on 4.26 is in fine shape, and the playing is tight. A “Nobody’s Fault” jam (I hear it as more of a “Spoonful”, but who am I to argue with DeadBase) dissolves into a brooding “Morning Dew” that is not to be missed. I always avoid language like “best ever”, “best of the ‘80s”, etc., but damn. This one is great. Phil revives the ultra low end for extra depth at just the right time. 

Finishing the set is a carnivalesque “Sugar Magnolia” featuring Brent on the synth for the entirety. Nothin’ wrong with this one from 4.10. The “U.S. Blues” from the same show is the encore, dedicated to “the girl with the lobotomy eyes”. It’s the final song of the night, and pretty much the second time on this compilation Brent played something other than his synthesizer. Jerry is in great vocal shape, and the evening comes to a bombastic close.

Spring ’83 is fun, and more consistent than the ensuing mid-80s would prove to be. Only 8 of the 18 songs in this compilation come from before the 1975 hiatus, implying that the band was not looking back. In fact, 4 of those 8 older songs make up the entirety of the post-space segment. Why not go out on a nostalgic note?

First Set
Shakedown Street (4.15.83)
Cassidy (3.30.83)
West LA Fadeaway (3.31.83)
Me and My Uncle > (4.20.83)
Cumberland Blues (4.20.83)
Althea (4.10.83)
Looks Like Rain (4.20.83)
Maybe You Know (4.16.83)
My Brother Esau > (4.13.83)
Might As Well (4.13.83)

Running Time: 67min

Second Set
Help on the Way > (5.15.83)
Slipknot! > (5.15.83)
Franklin's Tower (5.15.83)
Terrapin Station > (4.12.83)
Drums > (4.12.83)
Space > (4.26.83)
Truckin' (4.26.83)
Morning Dew (4.26.83)
Sugar Magnolia (4.10.83)

E: U.S. Blues (4.10.83)

Running Time: 78min

Click here for the MP3s!

NP 7.5 - Live '71 / '72

The Grateful Dead lineup was unstable from 1971 through 1972. Multiple changes meant that the band was constantly adjusting their song selections, set duration and overall sound. Pigpen’s health began to decline, no formal studio albums were released, and touring was erratic. The Grateful Dead only played 5 shows from June through July in 1971. 

While trying to compile the best version of the unreleased Ramblin’ Rose album I could, I listened to August ’71 through May ’72, which would have been a likely time for recording an album. This era precedes the Europe ’72 album and tour. Take a look at the 5 lineups during this era:

1971 through Feb. 18, 1971

Jerry and Bobby 

Phil

Pigpen

Billy and Mickey

Feb. 19 - Aug. 26, 1971

Jerry and Bobby

Phil 

Pigpen

Billy without Mickey

October 19, 1971 - March 27, 1972

Jerry and Bobby

Phil

Pigpen with Keith

Billy

March 27 - June 17, 1972

Jerry and Bobby

Phil

Pigpen and Keith

Billy

with Donna 

July 16, 1972 - Hiatus

Jerry and Bobby

Phil

Keith

Billy

Donna

without Pigpen

The Grateful Dead could hardly go 6 months before switching lineups for one reason or another. By focusing on the theoretical recording window of August ’71 through May ’72, I caught the band in a unique spot. This era is the first with Donna, and she isn't present much in this compilation. Mickey isn’t in the band, and Billy is stretching out and discovering freedom as a single drummer. 

Keith is still learning the songs and playing quietly, sometimes buried in the mix. Since the Ramblin' Rose accompaniment to this live release already contains an hour of material, I chose not to repeat any of those songs. The result is a truncated mini-show, presented below.

First Set

“Me and Bobby McGee” was a mainstay in the early ‘70s, amassing 56 performances in 1971 alone. By 12/15 it was well under their collective belt, and this version sparkles with confidence and clear tones.

“Big Railroad Blues” often reveals itself as a sleeper hit - you may not expect it to exceed the standard performance, or get a rush out of seeing it on a setlist, but sometimes it's just on fire, right out of the gate.

“Next Time You See Me” is taken from the famed Hundred Year Hall show. This is among the last 10 versions of nearly 80 total. The song didn’t change much from night to night, which was typical of Pigpen songs in this era. 

“Looks Like Rain” is thoughtful and slow-paced, with Garcia playing a mournful pedal steel, as he would throughout this run. His steel skills were at this point well-proven, but a bit rusty. Jerry had played pedal steel throughout the ’70 tour with New Riders of the Purple Sage and achieved new heights on David Crosby’s album If I Could Only Remember My Name the year previous. This would be the end of an era for this song, as Donna would take over Phil’s background vocals soon after, and Jerry would put the pedal steel away. 

“Uncle John’s Band” as performed here features the youthful Phil harmony, and tight vocals from everyone. This is only Keith’s 3rd live performance of this song, and his pensive playing is further buried due to tape wear. 

“Empty Pages” was only performed twice, and I just had to show it some admiration. Pigpen takes the song for a spin in its first performance, and the results are mixed. There’s a distinct barroom vibe from the rhythm section and guitars, while Pigpen holds out his organ pads and likely reads the lyrics from his notebook. The mix is about as good as you could expect, and this is my go-to version of the song, which would be retired 2 days later after its 2nd and last performance.

Although Keith had only joined 2 months earlier, he had performed “One More Saturday Night” almost nightly with the Dead, and on this 12/10/71 tape he lets his playing be heard. This performance is among the early signs that he would be able to catapult the band into new dynamic ranges.

"Playin' In The Band" was a bonafide powerhouse for jams by early '72, and this version is no slouch at a concise 11 minutes. Pigpen on the guiro wouldn't last much longer than this tour. The main highlight is the fact that, brace yourself, this is the first "Donna Yawp". Fans at the Academy of Music on the 26th were treated to a Donna-less PITB for the last time, because the night of the 27th changed the song forever. Even on '80s recordings, I hear the ghost of Donna. Like it or not, her improvised vocal section is a major part of "Playin' In The Band" in the '70s.

“Comes a Time” closes the first set. The song has an odd history of live performance, being retired in ’72, revived in ’76 and periodically sprinkled through the ‘80s and ‘90s, sometimes played just once per year. Weir’s tremolo amp tone really sets this version apart from others, along with the double keyboards.

Second Set

Following the thoughtful solo closing set 1, we go off the deep end with a massive 28-minute “That’s It For The Other One” suite leading into “Deal”. Or as some clumsy tapes would read: “Cryptical Envelopment > Drums > The Other One > Cryptical Envelopment” …. *eye roll*. This tape from 10/22/71 is only Keith’s second live attempt at this monster of a sequence, but you wouldn’t know it by the way he plays.

A gorgeous “Sing Me Back Home” brings the show to a calmer mood. The song was only performed from April ’71 through September ’73 with increasing rarity. Donna makes her second appearance on this compilation, marking the second incarnation of a 7-piece Dead. This is among Donna’s best performances, and I hate using hyperbolic phrases like that. 

The 3/23/72 “Not Fade Away > Goin’ Down the Road Feelin’ Bad > Not Fade Away” closes the set like it would so many times over the years. This may not be primal dead per se, but they were certainly performing with artful abandon as opposed to the complacency later heard from some versions of this sandwich.

The encore I included is “Brokedown Palace”; Keith’s second time performing it. There is some tape noise, but the sentiment is rich in this performance. Phil didn't always sing this high harmony, but this time it works well.

Late ’71 through mid-’72 can give the effect of hearing different bands, and indeed you are. The revolving door would welcome Keith and Donna after bidding adieu to Mickey early in the year, setting the band up for one of their hottest stretches: ’72 through ’74. This is the first phase of a tight lineup that would later lead to the wall of sound and eventually a well-earned hiatus. Wheel is turning and ya can’t slow down.. can’t let go and ya can’t hold on…

Sum it up real quick:
- Revolving door of band members
- Keith is figuring out the songs quickly
- Not much Donna
- Double keyboards

Set 1:

Me and Bobby McGee (12.15.71)

Big Railroad Blues (11.20.71)

Next Time You See Me (4.26.72)

Looks Like Rain (3.21.72)

Uncle John's Band (12.2.71)

Empty Pages (8.24.71)

One More Saturday Night (12.10.71)

Playin' In the Band (3.27.72)

Comes A Time (5.23.72)

Running Time 55:15

Set 2:

That's It For The Other One > (10.22.71)

Deal (10.22.71)

Sing Me Back Home (5.10.72)

Not Fade Away > (3.23.72)

Goin' Down The Road Feelin' Bad (3.23.72)

Not Fade Away (3.23.72)

Encore:

Breakdown Palace (10.23.71)

Running Time 70:45

Click here to download MP3s

NP7 - Ramblin' Rose

After the one-two punch of Workingman’s Dead and American Beauty in 1970, the Grateful Dead did not record a studio album until 1973’s Wake of the Flood. The interim saw the debut of some of the Dead’s most enduring songs, many of which would never leave the live repertoire. As such, there are no official studio versions of classics like:

Bertha

Ramble On Rose

Jack Straw

He’s Gone

Tennessee Jed

Brown Eyed Women

Wharf Rat

and the list goes on…

But during the break between Grateful Dead studio albums, the band contributed to and released Weir’s Ace, from which 7 of the 8 songs would become live staples:

Greatest Story Ever Told

Black Throated Wind

Playin’ In the Band

Looks Like Rain

Mexicali Blues

One More Saturday Night

Cassidy

Likewise, the album Garcia was released in 1972, offering:

Deal

Bird Song

Sugaree

Loser

To Lay Me Down

The Wheel

Mickey released an album as well, but none of the tracks became Dead staples. He was on leave from the band, later returning after the hiatus. In an interview with Blair Jackson, Garcia and Hunter alluded to the fact that so many new songs were never officially recorded, and I believe that they would have created a true artistic statement. I’ve read that “Pride of Cucamonga” was even written during this era, although it wasn’t recorded until From the Mars Hotel, and never played live.

The concept of recreating what Hunter referred to as Ramblin’ Rose, the long-lost final chapter in the Americana trilogy, is made easier if we exclude songs that were recorded on the solo albums and Wake of the Flood. Although some songs that appeared on later albums were introduced in this era, I’ll let sleeping dogs lie. Studio trickery (overdubs at a later date) are common on Europe ’72 and Skulls and Roses, but they are still live performances. 

I listened to all of August ’71 through May ’72 and found that the European tour appealed to my ears, with regard to the theoretical lost album - surprise, surprise! Thus all of the album tracks are culled from the Europe tour. It’s worth noting that of all the songs included on Ramblin’ Rose, only “He’s Gone” and “Wharf Rat” would regularly be included in segues and song combinations. This was an era where songwriter craftsmanship could shine.

“Bertha” kicks off the album in an upbeat and searing version from Hundred Year Hall. If it ain’t broke, don’t try to fix it. This version just smokes.

“Ramble On Rose” features a great mix of Keith running up and down the piano, with Pigpen in the mix doubling on organ. I strived to find performances that were as close to flawless as possible, which is common in Europe ’72. But in addition, I wanted Pigpen to be audible, as this was his last run with the band. 

“Mr. Charlie” brings the tempo back up, and lightens the mood. Including a whopping three Pigpen songs for this compilation definitely breaks the mold of earlier Grateful Dead albums, but this would prove to be his last chance to contribute songs to any album. It’s a bit of shameless revisionist history, because who knows whether all three songs would have been included were the album to have actually been recorded. “Mr. Charlie” was performed nearly 50 times in under a year, so I’m confident that it should be represented here.

“Jack Straw” was recorded as an acoustic demo for Weir’s Ace, but ultimately not included, and to my knowledge not recorded in-studio by the full band. The song would morph and change style through the decades, but there’s nothing quite as sweet and nuanced as an early version. Pigpen adds tambourine in Mickey’s wake, while Keith focuses on grand piano. By the time of the London 5/23 performance used here, the vocal sections had been divided up among Jerry and Bobby - who knows what may have happened in the studio, depending on recording date.

“He’s Gone” would have closed the theoretical first side of the LP. The sheer number of Jerry originals included on this album is staggering, considering how many others were already included on Garcia. Weir only has one contribution to the album; the rest is Garcia and Pigpen. This poignant take on “He’s Gone” features a rapid tremolo tone from Weir, which is as close to a studio effect as one can expect from a live take. Again, Pigpen presents a rare audible second keyboard to the song, an effect which wouldn’t be heard again until the ‘90s.  

“Tennessee Jed” starts the second side of the record, and this version is taken from the same Paris show as “Mr. Charlie”. Some lyrics had yet to be changed, which I feel is authentic to the prospect of an early ’72 album. Keith is a bit more conservative than he’d later be, but again we can bask in the glory of double keyboards. The harmony vocals sound great even without studio magic!

“Chinatown Shuffle” is Pig’s second entry for the album. The song was played extensively throughout the European tour, after being debuted on New Years Eve ’71. Were this album to have been recorded in late ’71, “Chinatown” wouldn’t have been included. The song barely changes from performance to performance, but Keith steals the show with a boogie solo and the band navigates the changes well. Pigpen’s health was declining and his vocals can sound uninterested, but he’s putting on his best frontman voice.

“Brown Eyed Women” oozes Americana regardless of the era in which its performed, but these early versions are without comparison. There’s something about the reverb of these European halls, the reserve in Jerry’s guitar parts, the organ, the single drummer and the lyrical imagery that combine into a work greater than the sum of the parts. The band had been playing this song for 6 months before arriving in Europe, and they are locked in.

“The Stranger (Two Souls in Communion)” is Pigpen’s swan song. Debuting and retiring within two months, it is the pinnacle of Ron McKernan’s songwriting. Instead of standing center stage, he finally found a way to sing with heart and soul while playing the organ. Although Pig would play one more show after the European tour, he wouldn’t sing that night. All three of his newer songs would be performed during the final London show, but I think this version of “The Stranger” just soars. The final version is found on the official Europe ’72 album.

“Wharf Rat” continues the somber mood for the close of the album. A fan favorite and constant ballad-spot contender, the song would never leave the repertoire after being introduced in early ’71. I wonder why it wasn’t included on Garcia, though - perhaps too many ballads already? This version verges on dirge territory, and closes the Americana trilogy albums on a dark note.

The Grateful Dead aren’t revered for their studio output, and while there are great albums, it’s not what we’re here for. The confines of the studio meant that solos would be set in stone, and there would be no room for improvisation. Perhaps my take on Ramblin’ Rose runs long and contains more intros and jams than would be expected from a studio album, but the artistic statement of this collection of songs is undeniable. Take a weekend and throw on Workingman’s, American Beauty, and Ramblin’ Rose. Transport yourself to the post-psychedelic era, where cowboy songs were perfected and legendary songs were born. 

I’ll include live selections from August ’71 - May ’72 in a separate post to save space and give you something else to chew on.

Tracklist

Bertha (4.26.72)

Ramble On Rose (5.25.72)

Mr. Charlie (5.3.72)

Jack Straw (5.23.72)

He's Gone (5.26.72)

Tennessee Jed (5.3.72)

Chinatown Shuffle (4.14.72)

Brown Eyed Women (5.4.72)

The Stranger (Two Souls In Communion) (5.10.72)

Wharf Rat (5.25.72)

Running Time 60:20

Click here to download the MP3s

NP6 Disco Dead

You may have seen the term “Disco Dead” thrown around, and you may have heard a few examples. This compilation brings together some of the funkiest late ‘70s recordings under the sun. Forgive the double cowboy medley; I couldn’t decide which to use! There are 3 Brent performances, and the rest are from the Godchaux era. 

First Set 

What better way to open and close a show than Bobby’s "Chuck Berry Special"? “Promised Land” opens set one, and “Johnny B Goode” is the encore. “Dire Wolf” is among the numerous, bouncy double-time renditions played during the disco era, along with “Ramble on Rose” (Keith is awake and active!) and “Loser”, also found here. 

In an era of experimentation in the cowboy songs, I found two examples (among many) worthy of inclusion. “Me and My Uncle > Big River” (11/2/77) has a definite BeeGees vibe. If you think the BeeGees comparison is odd, search around and find a BeeGees tease or two - they’re out there. “Mama Tried > Mexicali Blues” is from 2 years later (11/1/79). You’d think the drummers would have tired of the disco cowboy songs, but they managed to keep it upbeat. Brent on the Hammond certainly helps, and Jerry’s use of the auto-filter on “Mexicali” adds a distinct flavor. “Jack Straw”, “Passenger” and “Music Never Stopped” round out the set.

Second Set

For set two, the drums lead the way on a festive (New Years ’76) “Good Lovin” that transitions into “Samson & Delilah” via a funky jam I’ve not heard attempted any time else. It must have been improvised, seeing as this date is only the second time the two songs were played in the same show! It’s hard to imagine “Samson” anywhere but the second set opening slot, but it bounced around soon after its debut. “Bertha” usually led into “Good Lovin”, which further diminishes the probability of this unique jam occuring again. In fact, "Good Lovin" never preceded "Samson" again, regardless of the segue jam. 

The Red Rocks ’78 run is not to be missed. I included the 7/8 “Estimated > Other One > Eyes” sequence in part due to the inclusion of “The Other One” sandwiched between the very common “Estimated > Eyes” combo. It sounds like everyone in the band expected “Eyes” until Jerry steered the jam into dissonant territory, when the drummers and Phil initiate the bass intro. On a good matrix or AUD you can hear the crowd’s surprise.

I snipped the original ending into drums, but it’s worth it to sub in the “Let it Grow > Drums > Let it Grow” from 6/27/76. It clocks in at 17 minutes and showcases how tight the group could be, even with 7 people on stage. The group transition out of drums is remarkable.

On the original tape the sequence leads into “Wharf Rat”, but I’ve substituted it for the version from 11/24/79, which originally led out of a decidedly disco-less “Saint of Circumstance”. The “Wharf Rat” presented here has no disco flair, but you've just gotta have a ballad in the ballad spot! “One More Saturday Night” brings the evening to a close in raucous form.

The Grateful Dead were versatile enough to make the banal style (I hesitate to give it the distinction of a genre) of disco interesting. The band added a layer of funk to songs both old and new, at a time when their keyboardist was fading into the background and they were re-adapting to playing with Mickey. The hiatus in ’75 revitalized a worn out and over-toured band, and gave them time to stretch their jazz chops.

After the Blues for Allah shows though, some of that jazz tendency faded and disco was welcomed. I don’t think you’ll have any issue finding something to like about this collection, so shine up the platform shoes and point that finger in the air.

Sum it up real quick:
- double time Loser and Ramble on Rose
- lots of cowboy songs
- unique Good Lovin > Samson jam
- Chuck Berry opener/encore
- fast, disco, funky

Set 1:

Promised Land (10.15.76)

Dire Wolf (6.4.78)

Me And My Uncle > (11.2.77)

Big River (11.2.77)

Brown Eyed Women (9.27.76)

Mama Tried > (11.1.79)

Mexicali Blues (11.1.79)

Ramble On Rose (10.29.77)

Jack Straw (5.17.77)

Loser (10.29.77)

Passenger (5.15.77)

The Music Never Stopped (6.9.77)

Running Time 59:50

Set 2:

Good Lovin' > (12.31.76)

Samson & Delilah (12.31.76)

Estimated Prophet > (7.8.78)

The Other One > (7.8.78)

Eyes Of The World > (7.8.78)

Let It Grow > (6.27.76)

Drums > (6.27.76)

Let It Grow (6.27.76)

Wharf Rat (11.24.79)

One More Saturday Night (5.6.78)

Encore:

Johnny B Goode

Running Time 83:35

Burn "Good > Samson" on disc 1 to make this fit on 2 discs

Click here to download MP3s of Disco Dead!

NP5 - Summer '89

Summer ’89 is among the latest (mostly) agreed upon eras of greatness for the Grateful Dead. Jerry’s voice was in fine shape, the latest batch of songs were well rehearsed, new, fun covers were being explored, and the tours were more popular than ever. This compilation is full of interesting segues and song combos, as well as inspired performances. MIDI had become a mainstay in Jerry’s rig, and he had harnessed its power without going overboard (yet). 

Aside from a 3-show California residency in June, the summer tour ran from July 2 - August 19. Most of the shows in ’89 were part of two or three night residencies, which allowed the band to trot out a wide array of songs with few repeats per venue. The final show of the tour bookends this release, including the opener and part of the encore.

First Set

Everyone but Phil trades verses on “Let the Good Times Roll”, which leads into a hot “Jack Straw”. Keep an ear out for the Phil bombs and thundering toms. “Cassidy” from the very good 8/4 show is next - it breaks the traditional Jerry-Bobby-Jerry-Bobby song sequence, but the performance is too tight to pass up.

"Tennessee Jed" features Bruce Hornsby on accordion, in one of his appearances before joining the band for a few tours from late '90 through early '92. 

“Sugar Magnolia” takes a surprise turn into “Scarlet Begonias” which in turn takes another left turn into “Man Smart, Woman Smarter”. “Sugar Magnolia” segued into “Scarlet Begonias” in ’74 to great effect, and it is repeated here. Of the few instances of “Scarlet” going into something other than “Fire on the Mountain”, “Man Smart” only took the helm here and once more in ’90. It sounds like Jerry is leading the band into “Eyes”, but Bobby takes the wheel. “Eyes” comes out of the “Man Smart” if you’re interested in hearing how this sequence ends without my editorialized ending! 

“China > Rider” is next. The set closes with an ornate 12-minute “Bird Song”. I wonder if this version is one of the longest “Bird Song” performances, but its all about quality, not quantity. 

Second Set

The 7/9 “Shakedown Street” begins the next set. The band has a party with vocals leading into the jam. I snipped it before it segued into “Jack Straw”. Next “Victim or the Crime” follows, in a very complex MIDI-driven version complete with vocal delay and sound effects. It’s a slow take, and I imagine it must be among the most consistent ever played. This version is dark!

The second set suite is largely 8/4, but if the summer ’89 sound is your thing, go check out other second sets from the tour. “Crazy Fingers > Cumberland” would be played once more in ’90, but this first outing seems more improvised and is executed well. Before Brent has a chance to pull out the violin patch, the song dissolves into a disco-infused “Eyes > Drums > Space”

“The Wheel” is no surprise coming out of Space, and the ensuing “Miracle > Stella > ” is not an uncommon combination, either, having been sequenced this way a handful of times with different closers. I opted to replace the “Sugar Magnolia” from 8/4 with the double set closing “Music Never Stopped > Don’t Ease” from 8/17. Mickey goes to town with the electronic toms, which is a funny effect.

“Box of Rain” from 8/19 and “We Bid You Goodnight” from 8/18 close the show. “Goodnight” had been revised earlier on the tour for the first time since the late ‘70s. Phil’s voice was enjoying a renewed stretch of quality during this run, and it is on display for this encore.

Sum it up real quick:
- Sugar > Scarlet > Man Smart
- 8.4 is a big chunk of the second set
- hot Victim Or the Crime

- tight We Bid You Goodnight encore

Set 1:

Let the Good Times Roll > (8.19.89)
Jack Straw (8.19.89)
Cassidy (8.4.89)
Tennessee Jed (7.13.89)
Sugar Magnolia > (7.18.89) 

Scarlet Begonias > (7.18.89)
Man Smart, Woman Smarter (7.18.89)
China Cat Sunflower > (7.17.89)
I Know You Rider (7.17.89)
Bird Song (7.18.89)

Running Time 66:45

Set 2:

Shakedown Street (7.9.89)
Victim Or The Crime (7.19.89)
Crazy Fingers > (8.4.89)
Cumberland Blues > (8.4.89)
Drums > Space > (8.4.89)
The Wheel > (8.4.89)
I Need A Miracle > (8.4.89)
Stella Blue (8.4.89)

The Music Never Stopped > (8.17.89)
Don't Ease Me In (8.17.89)
Running Time 75:16

Encore
Box of Rain (8.19.89)
And We Bid You Goodnight (8.18.89)
Running Time 8:10

Click here to download Summer '89 MP3s for free! Join the folder to receive notifications for new blog posts.

NP4 Bobby in the Early '80s

The early ‘80s were a fruitful (at least monetarily) time for The Grateful Dead, and a period of playfulness for Bob Weir. His goofy cutoff jean shorts and purple polo were ever-present, accompanied by his helium-pitched “thank you” after crowd-pleasers or at set break. If there was a dearth of new songs being added into the mix, leave it to Bobby to spice up the proceedings with humor and action.

Bobby In The Early ‘80s presents an hour of his compositions and covers, arranged in a shortened setlist format. A rare Weir/Garcia acoustic duo kicks things off: “Mexicali Blues > Oh Boy”. Another acoustic performance, “Cassidy”, from the ’80 residencies follows. Those bi-coastal residencies are chock full of beautiful acoustic performances - check out the official release Reckoning if you don't have the time to take in the complete sets. 

“Feel Like A Stranger” suffers audio problems for the first minute and a half, but hang on, because it’s gonna be a long, silky, crazy night. Jerry is buried in the mix, but this is about Bob.

After being revived in ’80 and played often in ’81, “On the Road Again” is presented here near its final retirement, leading into “Beat It On Down the Line” for a double-Weir segue. After one “BIODTL > On The Road Again”, the song order was reversed and performed twice more, one of which is presented here. Weir’s vocal delivery is injected with humor, as he periodically assumes the voice of the woman in “On the Road Again”. According to Bobby, the segue was efficient and right on time - “just like a Swiss watch”. 

Next up is a “Let It Grow” from the SBD-troubled Europe ’81 tour (which I’ll feature in a new matrix mix later). His guitar is barely audible for much of the song, but the performance is undoubtedly inspired. Almost every tape from this tour is addled with problems, like Phil and Weir's guitar being buried in the mix.

The artificial second “set” begins with a “Samson & Delilah” from the under-appreciated Spring ’83 tour (I’ll be featuring this tour later). While generally derided, Weir’s slide work wasn’t all bad! Humor is center stage again during Bobby’s “Lost Sailor” rap from 9.23.82: “drifting…dreaming… maybe goin on a feelin…” complete with falsetto. “Just what the FUCK you gonna do!?”

Admittedly, July ’86 isn’t “Early ‘80s” - sue me. I couldn’t pass up this “Satisfaction” encore, and you’ll see why. Weir breaks the fourth wall and introduces the band between bouts of laughter. It’s worth mentioning that this is the last song played before Jerry’s coma and the Grateful Dead’s 5-month break. “Satisfaction” would be followed by the band’s longest break from touring in a decade: the hiatus of ’75.

Put this one on when you've got an hour and want to hear Jerry focus on guitar and harmony vocals, while Bobby steals the show.

Set 1:
Mexicali Blues > (3.2.82)
Oh Boy (3.2.82)
Cassidy (10.6.80)
Feel Like A Stranger (5.14.83)
On The Road Again > (8.10.82)
Beat It On Down The Line (8.10.82)
Let It Grow (10.19.81)

Set 2:
Samson & Delilah (4.15.83)
Lost Sailor > (9.23.82)
Saint Of Circumstance (9.23.82)
Satisfaction (7.7.86)

Running Time: 64:15

Click here for my MP3 mix of Bobby In The Early '80s. Join the folder and receive updates each time a new release is added!

NP2 & NP3 - Rare & Unique Vol. 1 & 2

                                                                   

The Grateful Dead live catalog is diverse, and there are trends among eras. Originals and cover songs alike were introduced, retired, included as segues both common and rare, and moved around the setlist. With Rare and Unique Vol. 1 and 2, I set out to reveal some of the least common songs and covers performed throughout the band’s tenure.

While some performances aren’t the most technically proficient, most are sure to provide listening value in one way or another. Check out Pigpen getting into the Christmas spirit, Stephen Stills railroading Jerry’s guitar volume on a CSN cover, Bobby reciting a quasi-poem over “The Other One” intro, the band taking a few stabs at Hornsby originals, Jerry reciting “La Bamba”, and more. 

The compilation is in chronological order, and kicks off with Pigpen pouring out his soul on “Pain in My Heart”. “Big Boy Pete” is an odd cover, as it was introduced in ’66, revived in ’69, ’78 and ’85 for no more than 2 performances each time. With a total of 8 versions, it is among the more common songs presented here. 

A few acoustic numbers lighten the mood, followed by a rousing “Run Rudolph Run” from December ’71. This is one of 7 versions from the same month. You may (should) recognize “Happiness is Drumming” in its only performance, as an embryonic version of a soon-to-be Dead classic. “Oh Boy” was first performed in ’71, revived once in ’78, and trotted out three more times in ’81 before being shelved permanently. 

Next Bobby presents an off the cuff improvised “Mack the Knife” before admitting they haven’t worked on it, much to the crowd’s enjoyment. Jerry and Bobby had previously  performed other Everly brothers songs, but “Bye Bye Love” was only played twice, and this version includes Joan Baez - sorry. One of the acoustic guitars experienced some input jack problems; I’m just not sure whose.

I encourage you to read up on ”Bob Star”, which is a lyrical addition to the intro of “The Other One”. Bobby experimented with this in the early ‘80s, and I’d love to know what the rest of the band thought of it. The first disc closes with Stephen Stills sitting in on “Love the One You’re With”, in its only Dead performance. It takes some time for everyone to get in line, as it came out of Space… weird. The song doesn’t show anyone in the best light, but there are plenty of Phil bombs and exuberant background vocals. Perhaps a matrix would help things, or at least help reveal the crowd’s excitement. This is the second consecutive night for Stephen Stills, who performed “Black Queen” the night before. 

Disc two starts with the only performance of “Goodnight Irene”, which was the encore for New Years ’83. Rick Danko is on acoustic, John Cippolina is on Guitar, Maria Muldaur sings, and Terry Cagle adds tambourine. 

“New Orleans” was performed thrice in ’70, but I chose the ’84 bustout. The mid-‘80s were chock full of covers, and even those of The Rolling Stones and The Beatles. “Why Don’t We Do It In the Road” is one such example, having been performed 7 times total. It kicks off a very strange and short first set, leading into a truncated “Mississippi Half Step”. I always love hearing Brent and Phil share vocals.

The Beatles mini-set continues with another show opening tune: “Day Tripper”, seemingly called out by one of the drummers. Bobby tears through the vocals with Brent on harmony - much more refined than the previous number. After a “Shakedown” opener in ’87, the boys play their only “Get Back”. The performance and the show in general are regarded as miserable, but its worth a laugh for the tricks Healy played on Bobby’s vocals. It is rumored that this kind of trickery was only audible in the mains and not in Bobby’s monitors, and that they were a contributing factor to Healy leaving the team. 

“Little Bunny Foo Foo” breaks the Beatles set, and leads into a searing “Good Lovin’ > La Bamba > Good Lovin”. What a relief to finally hear the song after it being teased for so long! “What’s Goin’ On” is augmented by Hall & Oates, from the Rain Forest Benefit in ’88, also featuring Suzanne Vega, Mick Taylor, Baba Olatunji, Hornsby, and Jack Cassady on other tunes.

“California Earthquake” was a show opener and set closer in its two performances in October ’89. Dense with lyrics, this song is among the best performed on this compilation. Two Hornsby originals round out the compilation, followed by the last of 4 “Take Me to the River” outings; this one is from in July ’95. It is one of only 6 songs Bobby sang at this show, and 3 of them were covers. Bobby relied on covers heavily in the ‘90s - I don’t know why. This is a confusing recording from a confusing time in their tenure: Vince on saxophones, everyone isolated and compressed through in-ear monitors, reverb on everything, and teleprompters on stage. 

While these performances aren’t legendary, when arranged together they reveal the explorative side of the band. Enjoy!

Disc 1:
Pain In My Heart (11.19.66)
Big Boy Pete (9.6.69)
The Master's Bouquet (12.26.69)
Saw Mill (1.31.70)
Bound In Memories (1.31.70)
Cocaine Habit Blues (8.5.70)
Run, Rudolph, Run (12.7.71)
Rockin' Pneumonia & The Boogie Woogie Blues (9.3.72)
Happiness Is Drumming (6.28.76)
Oh Boy (4.25.81)
Mack The Knife Tease (11.30.81)
Bye, Bye, Love (12.31.81)
Bob Star > The Other One (4.16.83)
Love The One You're With (4.17.83)
Running time - 56:06

Disc 2:
Goodnight, Irene (12.31.83)
New Orleans (6.21.84)
Why Don't We Do It In The Road (4.7.85)
Day Tripper (6.25.85)
Get Back (1.28.87)
Little Bunny Foo Foo (5.3.87)
Good Lovin' > La Bamba > Good Lovin' (9.18.87)
What's Goin' On (With Hall & Oates) (9.24.88)
California Earthquake (10.23.89)
Stander On The Mountain (12.3.90)
Valley Road (12.9.90)
Take Me To The River (7.6.95)
Running time - 52:55

Click here for my MP3 mix of Rare & Unique Vol. 1 & 2. Join the folder and receive updates each time a new release is added!