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
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
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)
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