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

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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

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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

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