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!