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)
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