This is a Grateful Dead song that was played throughout the band's entire career and one that I enjoy in every incarnation.
The later the version of this song that you hear, the slower it will be. I really like the late era slow versions where Jerry "grinds out" the main riff painstakingly note by note. Whatever the year this song was played, you'll hear Jerry played the to same original guitar solo from the studio version. There's little or no soloing from Jerry other than this predetermined segment. I think the Dead needed a song like this which after the first hundred times or so probably played itself.
I wonder if this song was an opener because of the simplicity and familiarity of the parts? The lyrics seem like they would be very easy to remember (the three "verses" are two lines each). It would seem to be a great warmup tune for these reasons.
The lyrics for Cold Rain and Snow have a little bit of that sly hubris of Jerry singing the part of the husband who has had it with his "troublesome" wife. Is it really that she's cold or perhaps our protagonist is looking for an excuse to have a wandering eye?
Well she's comin' down the stairs, combing back her yellow hair
And I'm going where those chilly winds don't blow
I'm reminded of Shady Grove which has a similar theme of the man who's had it with his wife (and wants to explore other options).
This song is credited to the Grateful Dead on Wikipedia but I always assumed it was a traditional song that they were covering. On the great site of "Annotated Grateful Dead Lyrics" it credits McGanahan Skjellyfetti - which is no doubt some sort of silly alias the band created.
Cold Rain and Snow is one of my favorite opening songs. Again, I have to mention that very few songs were great throughout the Dead's entire career and actually got better with time. In comparison, I have a hard time enjoying older (70's) versions of Eyes of the World and Bird Song because they were so rushed and didn't have the maturity of later versions. Cold Rain and Snow hits the spot every time - no matter what show and what year. Very consistent tune.
Cold Rain and Snow Song Rating on a Scale of 1-10: 9.1
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Monday, March 30, 2009
Friday, March 27, 2009
Cold Jordan - Grateful Dead Song Review
I don't have much to say about this song other than I love it. I've only ever heard it from various Grateful Dead acoustic sets but it really caught my attention when Jerry Garcia sang it in the film Festival Express.
This song is a really beautiful traditional song that was probably a gospel song originally. It is always a little strange to hear the Dead or Jerry sing a song with blatant religious overtones but I kind of like it for some reason. There are a few great songs from the GD repertoire that fall into this category like And We Bid You Goodnight and My Sisters and Brothers. The Dead and Jerry were always pretty "non denominational" but hey they were also lovers of great songs and no doubt some good songs came from various religious traditions.
This song struck a chord with me when I saw Festival Express, and then it did again when I rented the DVD and fast forwarded straight to that scene and watched it about 15 times in a row. I still love this tune and the next time I am feeling down or hopeless I hope I can remember to play Cold Jordan because I know it will cheer me up and give me hope.
Cold Jordan Song Rating on a Scale of 1-10: 8.5
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
This song is a really beautiful traditional song that was probably a gospel song originally. It is always a little strange to hear the Dead or Jerry sing a song with blatant religious overtones but I kind of like it for some reason. There are a few great songs from the GD repertoire that fall into this category like And We Bid You Goodnight and My Sisters and Brothers. The Dead and Jerry were always pretty "non denominational" but hey they were also lovers of great songs and no doubt some good songs came from various religious traditions.
This song struck a chord with me when I saw Festival Express, and then it did again when I rented the DVD and fast forwarded straight to that scene and watched it about 15 times in a row. I still love this tune and the next time I am feeling down or hopeless I hope I can remember to play Cold Jordan because I know it will cheer me up and give me hope.
Cold Jordan Song Rating on a Scale of 1-10: 8.5
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Wednesday, March 25, 2009
Chinatown Shuffle - Grateful Dead Song Review
"Take it... you can have it..."
Ahh, Ron "Pigpen" McKernan. The original frontman of the Grateful Dead and a character who seems almost mythical from what I've learned in studying the history of The Dead. First of all, he died at 27 and looked like he was 50. I'm 33 and I feel like a kid (and look way younger than Pigpen ever did) and believe me - I've been no angel in this life. 27 is so young for somebody to die, it is very sad but apparently he was a heavy drinker and his liver failed.
Unless I'm reading this entry from Wikipedia incorrectly it gives Pigpen writing credits for Chinatown Shuffle. That's cool, I never would have guessed- it sounds like an old traditional song. Certainly Wikipedia can be fallible though. If indeed it was written by Pigpen, I wonder if Chinatown Shuffle was inspired by Chinatown in San Francisco? It is pretty hard to tell by the lyrics which are pretty vague.
The song itself is pretty unfamiliar to me; I actually had to go to youtube.com to really remember how it went and luckily found a good version from the 1972 tour to Europe.
This is a bluesy New Orleans shuffle with an intro phrase that reminds me of U.S. Blues (or Wave that Flag). The song is upbeat and a lot more enjoyable to me than some of the slower bluesy songs that Pigpen sang (like Hurts Me Too or King Bee). Jerry plays a nice solo and this song is a fun and engaging tune.
Chinatown Shuffle doesn't really stand out as a signature Grateful Dead tune whatsoever. As I watch them play it in Europe on Youtube.com it almost seems as if they are being ambassadors for "American Music" and are playing a "sample blues shuffle." It seems like any other rock band from Americal could have produced a comparable version of Chinatown Shuffle. There isn't anything wrong with having fun upbeat traditional rockers in the set though, and Chinatown Shuffle does earn extra points for being an original GD tune.
Chinatown Shuffle Song Rating on a Scale of 1-10: 5.2
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Ahh, Ron "Pigpen" McKernan. The original frontman of the Grateful Dead and a character who seems almost mythical from what I've learned in studying the history of The Dead. First of all, he died at 27 and looked like he was 50. I'm 33 and I feel like a kid (and look way younger than Pigpen ever did) and believe me - I've been no angel in this life. 27 is so young for somebody to die, it is very sad but apparently he was a heavy drinker and his liver failed.
Unless I'm reading this entry from Wikipedia incorrectly it gives Pigpen writing credits for Chinatown Shuffle. That's cool, I never would have guessed- it sounds like an old traditional song. Certainly Wikipedia can be fallible though. If indeed it was written by Pigpen, I wonder if Chinatown Shuffle was inspired by Chinatown in San Francisco? It is pretty hard to tell by the lyrics which are pretty vague.
The song itself is pretty unfamiliar to me; I actually had to go to youtube.com to really remember how it went and luckily found a good version from the 1972 tour to Europe.
This is a bluesy New Orleans shuffle with an intro phrase that reminds me of U.S. Blues (or Wave that Flag). The song is upbeat and a lot more enjoyable to me than some of the slower bluesy songs that Pigpen sang (like Hurts Me Too or King Bee). Jerry plays a nice solo and this song is a fun and engaging tune.
Chinatown Shuffle doesn't really stand out as a signature Grateful Dead tune whatsoever. As I watch them play it in Europe on Youtube.com it almost seems as if they are being ambassadors for "American Music" and are playing a "sample blues shuffle." It seems like any other rock band from Americal could have produced a comparable version of Chinatown Shuffle. There isn't anything wrong with having fun upbeat traditional rockers in the set though, and Chinatown Shuffle does earn extra points for being an original GD tune.
Chinatown Shuffle Song Rating on a Scale of 1-10: 5.2
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Monday, March 23, 2009
Anthem of the Sun - Grateful Dead Album Review
Anthem of the Sun - NOW we're talking....
After a pretty tame and commercial debut record (reviewed here) the Grateful Dead emerged from the studio with a hodge podge of sound effects, live tracks, and studio sessions called Anthem of the Sun (and often referred to as merely Anthem)
You can tell as soon as you compare the difference in the album cover artwork between the two that The Dead were going to bring a more authentic and experimental offering to the table. Indeed Anthem was far from "playing it safe" like the debut and seems like it would be borderline inaccessible to the average music listener. There are long periods of dissonance, feedback, sound effects, and the like.
Side one is dominated by The Other One and it starts out with the gorgeous Cryptical Envelopment section sung by Jerry (is this another "song" written in complete by Garcia - words and lyrics?). I am a huge fan of Cryptical and I love hearing it on bootlegs to get the full effect of The Other One. This studio version does not disappoint with some great effects on Garcia's voice and beautiful overdubbed instruments.
Then it launches into The Other One, and as the studio recorded portion blends in with the live concert recordings there is a bit of cumbersome murkiness to the album which has not stood the test of time all that well. The Other One is a prolific Grateful Dead tune that would be played hundreds of time throughout their almost thirty year run. I will not discuss the numerous "sub tracks" that are listed for The Other One on the Anthem liner notes, I've never liked these names and if I remember correctly I read they were really created to get more royalties from the record company (to give the appearance that more tracks were on the album).
The Other One fades out with some gorgeously terrifying sound effects including prepared piano courtesy of Tom Constanten and then New Potato Caboose begins. This song has a great mellow vibe to it and I am surprised it wasn't more of a favorite for me in the past as I listen to it now. There is some nice harpsichord and the very recognizable Bobby Weir opening line:
Last Leaf Fallen...
New Potato Caboose rolls on for a little while and sounds like it becomes a live concert recording (like The Other One before it) and there is a little bit more of lo-fi sounding music but definitely a small price to pay for a creative blend of music.
I've reviewed Born Cross Eyed on the blog before and frankly this song is interesting with it's fairly complex structure and numerous surprising punches, twists, and turns but not a real standout (is that mariachi trumpet I hear at the 1:20 mark?).
The second side features the absolutely fantastic medley of: Alligator and Caution (Do Not Stop on Tracks). I've reviewed both of these songs on the blog but will say again that this acid rock at its finest. I have no idea what is recorded in the studio and what is from a concert recording in this track but it doesn't matter to me, I just like to crank it up and enjoy the Good ol' Grateful Dead at their finest. Some of the piano that is overdubbed is so beautiful during Alligator, it has almost the feel of a montuno and then the drums section definitely also has some afro-cuban overtones with a clave beat among other things.
Anthem of the Sun is a masterpiece. Every time I listen to this album I hear something new. How often can you say that about an album?
Anthem of the Sun Album Rating on a Scale of 1-10: 9.4
Disclaimer: This is part of my blog that reviews all things Grateful Dead for fun. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Friday, March 20, 2009
China Doll - Grateful Dead Song Review
In my opinion, here's what makes a "great" China Doll:
-Jerry nails all of the words
-the band makes the changes together
- the background vocals are on key
...but if you are lucky enough to get he above, then you hope for this to make a "perfect China Doll":
-cool transition into China Doll from another song
-soulful well executed guitar solo
... and there are definitely some "perfect" China Dolls out there.
China Doll is a moody ballad with one of the most beautiful transitions from minor to major in rock music that I've ever heard. This song was originally released on the From the Mars Hotel album in 1974 and featured harpsichord.
China Doll is very much revered but is still underrated. China Doll should be an even more high profile Grateful Dead classic than it currently is. I am sure the song is virtually unknown outside of Deadheads so it earns the distinction of being For Deadheads Only.
This song is so deep, eerie, and mysterious it disappoints me that more people aren't exposed to it. It is a very slow melancholy dirge and another thing that might detract from it's popularity amongst Deadheads and the public at large is that the lyrics are very vague. I am not even sure what the plot of the song is or if the dialogue is a one person monologue or between two people, etc. The opening lines are vague:
A pistol shot at 5 o'clock
The bells of heaven ring
"Tell me what you done it for"
"No I won't tell you a thing"
It has been written in the books that (per Robert Hunter) the opening shot refers to a suicide but without that 3rd party information I wouldn't have known that. This fact of the vague lyrics does not bother me at all because I love China Doll so much but I am just conjecturing that the unclear storyline and lack of identifiable characters (ie no "Black Peter" in this one) might have caused the song not to receive the fanfare I think it deserves.
The song goes on with cryptic lyrics until the unbelievable tension release before the final lines:
Take up your china doll
it's only fractured
just a little nervous from the fall
This transition from minor to major is chillingly effective and really a compositional triumph on Jerry's part. This part gives me goosebumps pretty much every time I hear it. Also I must mention that Jerry always played an anguished, minimal, and soulful solo on China Doll in a "slowhand" style with lots of bent notes that was not his typical style.
I can honestly say that when I'm listening to a Dead show recording or a podcast and the 2nd set Drums/Space section is winding down the song I honestly want to hear most is always China Doll. I love this song a lot and always listen to see if I can hear Jerry start to outline the Dm chord that starts China Doll. This song just transports me to a dark (but comfortable) place and then delivers me to a wistful state of mind by the final refrain "La la la la la la laaaaa." I love Jerry ballads above all else so it should come as no surprise that I am hoping for a China Doll in every show I hear.
In my relatively few Dead shows I attended (17) it was not meant to be for me to hear a China Doll. Really, the vast majority of Deadheads probably didn't get to hear China Doll - it was played pretty intermittently throughout the Dead's career. The most frequency the song had was in the mid 80s - especially 1984 and 1985. It's been a while since I really analyzed the timeline of Jerry's drug use and physical decline in the 80s but I am going to go out on a limb and say that this song was played quite frequently during this period and he probably was in a lot of pain too. Maybe it was therapeutic for him to sing this song of loss and wail on the soulful solo...
China Doll Song Rating on a Scale of 1-10: 9.3
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Wednesday, March 18, 2009
China Cat Sunflower - Grateful Dead Song Review
Chinal Cat Sunflower originally released on the Dead's third studio album Aoxomoxoa is a real "one of a kind" rock song. The opening "fat" rhythm guitar figure and the beautiful lead contrapuntal melody (played by Bobby!) set the tone for the song as a combination of rock and "mystical" eastern themes. This happy melody should've inspired an entire genre of music to develop but never have I heard anything else remotely like China Cat Sunflower.
I mean, really, this song is a psychedelic gem that is so creative in melody and lyric that it is a total masterpiece.
The two versions that are really the most familiar to me are the Europe '72 and the Without a Net versions - both live. That isn't to write off the Aoxomoxoa studio version which is phenomenal too (and perhaps a little more psychedelic as a result of heavy studio effects).
Look, for a while at the China Cat
Sunflower
Proud walking jingle in the midnight sun
The rest of the lyrics are pure fantasy much like the opening stanza. This song sounds like the result of talented musicians taking the world's best acid and having the perfect trip. No wonder nothing else quite like it is out there.
The song is totally well played almost every time and leads into I Know You Rider (hence the designation China Rider on tapes and setlist transcriptions). I can't think of any time I've heard China Cat and it was weak. Some great Dead songs really suffer from being inconsistent (Help on the Way comes to mind for some reason) but China Cat Sunflower -> I Know You Rider was always a winner.
For a medley with so much jamming the structure of China Cat Sunflower remained pretty rigidly the same for decades - even down to Jerry's scripted lead. Of course there was a lot of noodling in the transition into I Know You Rider but that was always a really consistent surge of energy as the tempo and dynamics of the song increased. The rock soloing in between the two songs always remained in the keys of D and G so wasn't harmonically explorative but extremely effective.
China Cat Sunflower is one of the first "real" dead live songs I fell in love with. What I mean is that while I enjoyed my cassete copies of Skeletons From the Closet and parts of American Beauty and most of Workingman's Dead, I had some very epiphanous moments while listening to China Rider (on both Without a Net and Europe '72) during which I started to understand what the Grateful Dead were really about. I can't put into words what the Grateful Dead concert experience was like but I could partially describe it as a joyous collaborative musical improvisation that incorporated the energy of the audience. China Rider is a good example of this at its best because it "worked" almost every time.
I am really glad I got to see a China Rider live (12-9-1993 at Los Angeles Sports Arena). It wasn't the rarest song but I only saw it once in the 17 Grateful Dead shows I went to. I will never get tired of these songs and when it comes on I will always stop what I am doing and listen carefully to the jam that connects the two songs.
China Cat Sunflower Song Rating on a Scale of 1-10: 9.9
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
I mean, really, this song is a psychedelic gem that is so creative in melody and lyric that it is a total masterpiece.
The two versions that are really the most familiar to me are the Europe '72 and the Without a Net versions - both live. That isn't to write off the Aoxomoxoa studio version which is phenomenal too (and perhaps a little more psychedelic as a result of heavy studio effects).
Look, for a while at the China Cat
Sunflower
Proud walking jingle in the midnight sun
The rest of the lyrics are pure fantasy much like the opening stanza. This song sounds like the result of talented musicians taking the world's best acid and having the perfect trip. No wonder nothing else quite like it is out there.
The song is totally well played almost every time and leads into I Know You Rider (hence the designation China Rider on tapes and setlist transcriptions). I can't think of any time I've heard China Cat and it was weak. Some great Dead songs really suffer from being inconsistent (Help on the Way comes to mind for some reason) but China Cat Sunflower -> I Know You Rider was always a winner.
For a medley with so much jamming the structure of China Cat Sunflower remained pretty rigidly the same for decades - even down to Jerry's scripted lead. Of course there was a lot of noodling in the transition into I Know You Rider but that was always a really consistent surge of energy as the tempo and dynamics of the song increased. The rock soloing in between the two songs always remained in the keys of D and G so wasn't harmonically explorative but extremely effective.
China Cat Sunflower is one of the first "real" dead live songs I fell in love with. What I mean is that while I enjoyed my cassete copies of Skeletons From the Closet and parts of American Beauty and most of Workingman's Dead, I had some very epiphanous moments while listening to China Rider (on both Without a Net and Europe '72) during which I started to understand what the Grateful Dead were really about. I can't put into words what the Grateful Dead concert experience was like but I could partially describe it as a joyous collaborative musical improvisation that incorporated the energy of the audience. China Rider is a good example of this at its best because it "worked" almost every time.
I am really glad I got to see a China Rider live (12-9-1993 at Los Angeles Sports Arena). It wasn't the rarest song but I only saw it once in the 17 Grateful Dead shows I went to. I will never get tired of these songs and when it comes on I will always stop what I am doing and listen carefully to the jam that connects the two songs.
China Cat Sunflower Song Rating on a Scale of 1-10: 9.9
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Monday, March 16, 2009
Childhood's End - Grateful Dead Song Review
This is a rare Phil song, so I had to refer to archive.org to refresh my memory. It was only played about eleven times - almost exclusively in 1994 and almost exclusively in the 1st set.
I like the version of this on "Phil and Friend's" acoustic show in Berkeley in 1994 (NOT the post Jerry band Phil and Friends but the 1994 Dead lineup - without drummers).
I kind of associate this song with Wave to the Wind and If the Shoe Fits as songs that were new and popping up at Dead shows during the era that I was seeing them (ie '93-'95). These songs were not very well received and I remember not really seeking them out on tapes very much so I really barely know them.
Childhood's End is not a bad song, it is just a soft rock Phil song that never gained much traction in the boys' repertoire.
The song is pretty harmonically ambitious with lots of jazzy chords and not a very predictable progression. For some reason the verses reminds me somewhat of Unbroken Chain and the vocal melody definitely has some similarities to Mr. Tambourine Man by Bob Dylan.
I've listened to a couple of versions today and the song being not a typical rock song with evolving lyrics makes the recordings sounds honestly like the band didn't practice it a whole lot and were still "learning it on stage" (without a net so to speak).
Childhood's End has pretty nice lyrics that apparently Phil wrote including the memorable refrain that the band would join in on:
River run deep
River run slow
and this refrain changes over the course of the song:
River run cold
River run clear
and so on. The entry for this song on the Annotated Grateful Dead lyrics doesn't have the lyrics but they are definitely out there on the internet and they are really cool lyrics. Kind of wistful, nostalgic, with lots of references to nature and some of the good ol' Grateful Dead mysical content like:
Reach behind the wind
Search beyond the stars
We're the life on Mars
So Childhood's End isn't going to pop up on any "best of" Grateful Dead compilations but is still interesting for those of us who love the Dead and just want to hear rare songs like this one.
Childhood's End Song Rating on a Scale of 1-10: 6.5
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
I like the version of this on "Phil and Friend's" acoustic show in Berkeley in 1994 (NOT the post Jerry band Phil and Friends but the 1994 Dead lineup - without drummers).
I kind of associate this song with Wave to the Wind and If the Shoe Fits as songs that were new and popping up at Dead shows during the era that I was seeing them (ie '93-'95). These songs were not very well received and I remember not really seeking them out on tapes very much so I really barely know them.
Childhood's End is not a bad song, it is just a soft rock Phil song that never gained much traction in the boys' repertoire.
The song is pretty harmonically ambitious with lots of jazzy chords and not a very predictable progression. For some reason the verses reminds me somewhat of Unbroken Chain and the vocal melody definitely has some similarities to Mr. Tambourine Man by Bob Dylan.
I've listened to a couple of versions today and the song being not a typical rock song with evolving lyrics makes the recordings sounds honestly like the band didn't practice it a whole lot and were still "learning it on stage" (without a net so to speak).
Childhood's End has pretty nice lyrics that apparently Phil wrote including the memorable refrain that the band would join in on:
River run deep
River run slow
and this refrain changes over the course of the song:
River run cold
River run clear
and so on. The entry for this song on the Annotated Grateful Dead lyrics doesn't have the lyrics but they are definitely out there on the internet and they are really cool lyrics. Kind of wistful, nostalgic, with lots of references to nature and some of the good ol' Grateful Dead mysical content like:
Reach behind the wind
Search beyond the stars
We're the life on Mars
So Childhood's End isn't going to pop up on any "best of" Grateful Dead compilations but is still interesting for those of us who love the Dead and just want to hear rare songs like this one.
Childhood's End Song Rating on a Scale of 1-10: 6.5
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Saturday, March 14, 2009
Table of Contents - Album Reviews
Album reviews will be completed periodically in this order:
The Grateful Dead, Grateful Dead, 1967
Anthem Of The Sun, Grateful Dead, 1968
Aoxomoxoa, Grateful Dead, 1969
Live/Dead, Grateful Dead, 1969
Workingman's Dead, Grateful Dead, 1970
American Beauty, Grateful Dead, 1970
Grateful Dead (Skull & Roses), Grateful Dead, 1971
Europe '72, Grateful Dead, 1972
History Of The Grateful Dead, Vol. 1 (Bear's Choice), Grateful Dead, 1973
Wake Of The Flood, Grateful Dead, 1973
Grateful Dead From The Mars Hotel, Grateful Dead, 1974
Blues For Allah, Grateful Dead, 1975
Steal Your Face, Grateful Dead, 1976
Terrapin Station, Grateful Dead, 1977
Shakedown Street, Grateful Dead, 1978
Go To Heaven, Grateful Dead, 1980
Reckoning, Grateful Dead, 1981
Dead Set, Grateful Dead, 1981
In The Dark, Grateful Dead, 1987
Dylan And The Dead, Bob Dylan / Grateful Dead, 1988
Built To Last, Grateful Dead, 1989
Without A Net, Grateful Dead, 1990
Infrared Roses, Grateful Dead, 1991
So Many Roads (1965-1995), Grateful Dead, 1999
The Golden Road (1965-1973), Grateful Dead, 2001
The Grateful Dead, Grateful Dead, 1967
Anthem Of The Sun, Grateful Dead, 1968
Aoxomoxoa, Grateful Dead, 1969
Live/Dead, Grateful Dead, 1969
Workingman's Dead, Grateful Dead, 1970
American Beauty, Grateful Dead, 1970
Grateful Dead (Skull & Roses), Grateful Dead, 1971
Europe '72, Grateful Dead, 1972
History Of The Grateful Dead, Vol. 1 (Bear's Choice), Grateful Dead, 1973
Wake Of The Flood, Grateful Dead, 1973
Grateful Dead From The Mars Hotel, Grateful Dead, 1974
Blues For Allah, Grateful Dead, 1975
Steal Your Face, Grateful Dead, 1976
Terrapin Station, Grateful Dead, 1977
Shakedown Street, Grateful Dead, 1978
Go To Heaven, Grateful Dead, 1980
Reckoning, Grateful Dead, 1981
Dead Set, Grateful Dead, 1981
In The Dark, Grateful Dead, 1987
Dylan And The Dead, Bob Dylan / Grateful Dead, 1988
Built To Last, Grateful Dead, 1989
Without A Net, Grateful Dead, 1990
Infrared Roses, Grateful Dead, 1991
So Many Roads (1965-1995), Grateful Dead, 1999
The Golden Road (1965-1973), Grateful Dead, 2001
Friday, March 13, 2009
Grateful Dead Debut Album - Grateful Dead Album Review
This album holds up the test of time. The main thing I would say about it is that it doesn't really have the character of the Grateful Dead we have come to know. Rather it sounds like a typical rock band from this time period.
The album is almost... cute in this regard. If you listen to Sitting on Top of the World with it's funny little punches and immediate fadeout when the guitar solo begins, it sounds like music that would be in the background of an old dated commercial.
In my opinion, the bona fide highlights are:
1. The Golden Road (To Unlimited Devotion) - a summer of love classic. I've loved this song since the first time I heard it (on the Skeletons from the Closet compilation cassette of course). This song does sound a little "un-Dead like" in it's rushed delivery and cumbersome overdubs but I've always really loved this tune
2. Cold Rain and Snow - on Wikipedia it says this song is a Grateful Dead composition but I've always assumed it was a traditional tune the Dead appropriated. Cold Rain and Snow is a real favorite Dead song for me and I always crank it up and I also enjoy every incarnation of it through the years (getting slower and slower).
3. (Walk Me Out in the) Morning Dew - considering the rest of the tracks on this debut LP and how pop/commercial they sounded, this one had the musical swell at the beginning and a decent length guitar solo and therefore sounds like the Grateful Dead were sounding like themselves rather than just making "Top 40" A.M. radio music.
4. Viola Lee Blues - the highlight really of the whole record in my opinion. It has a nice fat jam in the middle, plenty of soloing - now this sounds like early Grateful Dead - the psychedelic acid rock jam band from SF. Viola Lee Blues is a really cool and catchy song and I wish that it would've been played throughout more of the Grateful Dead's career but I know that Phil brought the song back sometime after Jerry's death so that's cool to know.
The rest of the songs are pretty good too. It kind of sounds like Jerry is trying to hard to "sing" and he is over enunciating everything and who knows maybe he wasn't very comfortable being in the studio and singing with headphones on etc. His voice sounds unnatural but still I like this.
One time I think someone told me that Cream Puff War was the only Grateful Dead song that Jerry wrote all music and lyrics by himself. It is a pretty cool song but not a favorite of mine per se. Good Morning Little Schoolgirl also deserves a mention for being such a great Pigpen song.
I don't consider this to be a great Grateful Dead studio album, but then again I've never considered the Grateful Dead to be that great in the studio.
Grateful Dead Debut Album Rating on a Scale of 1-10: 8.8
Disclaimer: This is part of my blog that reviews all things Grateful Dead for fun. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Wednesday, March 11, 2009
Caution (Do Not Stop on Tracks) - Grateful Dead Song Review
I love the Dead jamming "acid rock" style in the 1960's and this is a prototypical 1960s jam song. It really seems to have no main structure other than heavy drums and guitar improvistation and vocal passage that Pigpen sings about the gypsy woman and the call and response
all you need
all you need
all you need
The rest of the song seems to be totally improvisational and varies depending on which version you hear. Jerry always plays great solos on Caution and it seems his energy would drive the song to new heights while at other times the drums would be taking over.
To my knowledge Caution (Do Not Stop on Tracks) was always played after Alligator, and as I
wrote in my review of the song Alligator, I remember many of my Deadhead friends refer to the combination of Alligator and Caution (Do Not Stop on Tracks) from Anthem of the Sun as "Alligator Caution" (much like "Scarlet Fire" or "Eyes Estimated").
The way that Caution would develop out of Alligator was not necessarily built around chord changes but always incorporated a surge of energy and dynamics. The tempo would increase and free form jamming would ensue. This is a great example of a 60s rock band deviating from the traditional song composition structure and creating a vehicle for jamming and whipping the audience into a frenzy.
Caution Song Rating on a Scale of 1-10: 8.5
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
all you need
all you need
all you need
The rest of the song seems to be totally improvisational and varies depending on which version you hear. Jerry always plays great solos on Caution and it seems his energy would drive the song to new heights while at other times the drums would be taking over.
To my knowledge Caution (Do Not Stop on Tracks) was always played after Alligator, and as I
wrote in my review of the song Alligator, I remember many of my Deadhead friends refer to the combination of Alligator and Caution (Do Not Stop on Tracks) from Anthem of the Sun as "Alligator Caution" (much like "Scarlet Fire" or "Eyes Estimated").
The way that Caution would develop out of Alligator was not necessarily built around chord changes but always incorporated a surge of energy and dynamics. The tempo would increase and free form jamming would ensue. This is a great example of a 60s rock band deviating from the traditional song composition structure and creating a vehicle for jamming and whipping the audience into a frenzy.
Caution Song Rating on a Scale of 1-10: 8.5
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Monday, March 9, 2009
Cassidy - Grateful Dead Song Review
Oh I just got a little chill thinking about seeing Cassidy at Oakland Coliseum during the Chinese New Year run in 1994. It was raining outside and Cassidy was sandwiched betwen Loser and Don't Ease Me In. What a lucky man I was and still am to be able to remember this.
Cassidy is probably my favorite Bob Weir song. It is definitely a Bobby song and it was originally released on the studio album Ace, Bobby's solo album that had several other songs that would become Grateful Dead classics (Greatest Story Ever Told, Black Throated Wind, Mexicali Blues, Playin' in the Band, and Looks Like Rain).
I'm a little hard on Bob but I'm going to have to give credit for Cassidy and the Ace album as a whole - wow. Very prolific and great output of good music. If I remember what I read in the Grateful Dead books correctly - the sessions for Ace turned into almost like a Grateful Dead recording session because the band members were all participating.
But back to Cassidy. This song is magic. A first set song with an open jam section (a rare feature) and with great lyrics by John Barlow. There are extremely catchy and memorable lines to open:
I have seen where the wolf has slept by the silver stream
I can tell by the mark he left you were in his dream
and my other favorite part at the end:
Fare thee well now, let your life proceed by its own design
Nothing to tell now, let the words be your I am done with mine.
I don't know how to describe why Cassidy's lyrics are so magic to me. Well, they just have a timeless quality and the way the jam opens up slightly dissonant after they sing the "Fare thee well now..." line adds to this mysterious quality. Oh did I mention that the song has references to Neal Cassady:
Lost now are the country miles in his cadillac,
I can tell by the way you smile, he's coming back
This is evocative of a wonderful and magical time in the history of California and reminds me of the Merry Pranksters, Ken Kesey, the Acid Tests, and of course the beatnik era. I love reading books like On the Road, the Electric Kool Aid Acid Test, and others about this proud period in the history of California. There is a really great article on the Literary Kicks website where Barlow discusses Neal Cassady and also mentions the origins of the lyrics to Cassidy (many thanks to Sundar for bringing this to my attention).
So again I want to emphasize that Cassidy was one of the few first set songs with a wide open exploratory jam. Another one that comes to mind is Bird Song and these two songs always remind me of each other for some reason. Basically, you were hoping to get one or the other in the first set (both never seemed to be played in the same night) and either almost singlehandedly indicated a good set and probably a great show.
Bird Song also has that open jam section and the jam section in both Cassidy and Bird Song incorporate dissonant sounds - which transport the listener elsewhere. For some reason I want to point out that like in Bird Song, when the jam in Cassidy winds down, it is often not a precise transition back into the chorus: flight of the sea birds... there was always a looseness to this return to the song that some might describe as "sloppy." I actually really like the fact that it wasn't precise. This loose transition shows that The Grateful Dead were about pushing the envelope and exploring the jam portion of songs like this - not so much interested in earning style points for being tight.
For me, the quintissential version of Cassidy is on Without a Net. So I guess that means that I associate the song with Brent doubling the lead vocal. How cool is it that Brent could just sing along with Bobby through the entire tune even though he wasn't around when the song was initially created and played? How many other bands do you know of welcome a new keyboardist into the fold and then share lead vocals with him on their most favorite songs? That's just one of many reasons why the Grateful Dead rules, and tonight I'm gonna give it up for Bob Weir for making this song happen.
Cassidy Song Rating on a Scale of 1-10: 9.9
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Cassidy is probably my favorite Bob Weir song. It is definitely a Bobby song and it was originally released on the studio album Ace, Bobby's solo album that had several other songs that would become Grateful Dead classics (Greatest Story Ever Told, Black Throated Wind, Mexicali Blues, Playin' in the Band, and Looks Like Rain).
I'm a little hard on Bob but I'm going to have to give credit for Cassidy and the Ace album as a whole - wow. Very prolific and great output of good music. If I remember what I read in the Grateful Dead books correctly - the sessions for Ace turned into almost like a Grateful Dead recording session because the band members were all participating.
But back to Cassidy. This song is magic. A first set song with an open jam section (a rare feature) and with great lyrics by John Barlow. There are extremely catchy and memorable lines to open:
I have seen where the wolf has slept by the silver stream
I can tell by the mark he left you were in his dream
and my other favorite part at the end:
Fare thee well now, let your life proceed by its own design
Nothing to tell now, let the words be your I am done with mine.
I don't know how to describe why Cassidy's lyrics are so magic to me. Well, they just have a timeless quality and the way the jam opens up slightly dissonant after they sing the "Fare thee well now..." line adds to this mysterious quality. Oh did I mention that the song has references to Neal Cassady:
Lost now are the country miles in his cadillac,
I can tell by the way you smile, he's coming back
This is evocative of a wonderful and magical time in the history of California and reminds me of the Merry Pranksters, Ken Kesey, the Acid Tests, and of course the beatnik era. I love reading books like On the Road, the Electric Kool Aid Acid Test, and others about this proud period in the history of California. There is a really great article on the Literary Kicks website where Barlow discusses Neal Cassady and also mentions the origins of the lyrics to Cassidy (many thanks to Sundar for bringing this to my attention).
So again I want to emphasize that Cassidy was one of the few first set songs with a wide open exploratory jam. Another one that comes to mind is Bird Song and these two songs always remind me of each other for some reason. Basically, you were hoping to get one or the other in the first set (both never seemed to be played in the same night) and either almost singlehandedly indicated a good set and probably a great show.
Bird Song also has that open jam section and the jam section in both Cassidy and Bird Song incorporate dissonant sounds - which transport the listener elsewhere. For some reason I want to point out that like in Bird Song, when the jam in Cassidy winds down, it is often not a precise transition back into the chorus: flight of the sea birds... there was always a looseness to this return to the song that some might describe as "sloppy." I actually really like the fact that it wasn't precise. This loose transition shows that The Grateful Dead were about pushing the envelope and exploring the jam portion of songs like this - not so much interested in earning style points for being tight.
For me, the quintissential version of Cassidy is on Without a Net. So I guess that means that I associate the song with Brent doubling the lead vocal. How cool is it that Brent could just sing along with Bobby through the entire tune even though he wasn't around when the song was initially created and played? How many other bands do you know of welcome a new keyboardist into the fold and then share lead vocals with him on their most favorite songs? That's just one of many reasons why the Grateful Dead rules, and tonight I'm gonna give it up for Bob Weir for making this song happen.
Cassidy Song Rating on a Scale of 1-10: 9.9
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Friday, March 6, 2009
Casey Jones - Grateful Dead Song Review
Now here is a song I knew about even before I knew who the Grateful Dead was. This song is so catchy and controversial I remember being very young and hearing my silly cousin jokingly sing it almost as if it was a parody song or something that would belong on Dr. Demento's radio show of bizarre music (next to the latest 'Weird' Al Yankovic tune).
Casey Jones is kind of weird lyrically because the song is about a folk legend of a train engineer who crashed. There are other older traditional songs about this incident. The reason I think it's kind of a weird song lyrically because none of the verses really mention anything about cocaine and it is kind of hard to get a story line out of the lyrics (other than the train wreck). There is a "lady in red" at one point and the song is somewhat disjointed in it's lyrics - but still they're very memorable nonetheless.
One thing is for sure though, the music rocks and the melody is catchy. The rhythm is a medium tempo plodding shuffle that actually sounds like a train to me. The first solo Jerry takes on the studio recording (and he usually played it true to this original in concert) is a really simple interpretation of the chorus melody. Jerry played very lyrically and often interpreted verse and chorus melodies in his solos, but this one is particularly scaled back.
This song was released on the fantastic studio album Workingman's Dead. This is an album I was able to connect with a lot more than American Beauty when I was listening to the "classics" at a relatively young age trying to understand what the Dead was all about.
The song really should be heard on a live bootleg to get the proper effect of the "train speeding up" at the end. This build up jam is Grateful Dead at their best - the whole band collectively playing faster and with more attack as the song comes to a climax. Is there any live Grateful Dead "official release" that includes this song? I can't think of any (I'm sure there's a Dick's Picks and probably a Road Trips release with it on there - but I can't think of any major label release).
I'm sure this song was played hundreds of times in the 70's but was very rare by the time I was seeing shows in the 1990's. I bet it was an incredible experience to catch a live version of Casey Jones. It wasn't meant to be for me.
Casey Jones Song Rating on a Scale of 1-10: 9.2
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Casey Jones is kind of weird lyrically because the song is about a folk legend of a train engineer who crashed. There are other older traditional songs about this incident. The reason I think it's kind of a weird song lyrically because none of the verses really mention anything about cocaine and it is kind of hard to get a story line out of the lyrics (other than the train wreck). There is a "lady in red" at one point and the song is somewhat disjointed in it's lyrics - but still they're very memorable nonetheless.
One thing is for sure though, the music rocks and the melody is catchy. The rhythm is a medium tempo plodding shuffle that actually sounds like a train to me. The first solo Jerry takes on the studio recording (and he usually played it true to this original in concert) is a really simple interpretation of the chorus melody. Jerry played very lyrically and often interpreted verse and chorus melodies in his solos, but this one is particularly scaled back.
This song was released on the fantastic studio album Workingman's Dead. This is an album I was able to connect with a lot more than American Beauty when I was listening to the "classics" at a relatively young age trying to understand what the Dead was all about.
The song really should be heard on a live bootleg to get the proper effect of the "train speeding up" at the end. This build up jam is Grateful Dead at their best - the whole band collectively playing faster and with more attack as the song comes to a climax. Is there any live Grateful Dead "official release" that includes this song? I can't think of any (I'm sure there's a Dick's Picks and probably a Road Trips release with it on there - but I can't think of any major label release).
I'm sure this song was played hundreds of times in the 70's but was very rare by the time I was seeing shows in the 1990's. I bet it was an incredible experience to catch a live version of Casey Jones. It wasn't meant to be for me.
Casey Jones Song Rating on a Scale of 1-10: 9.2
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
Wednesday, March 4, 2009
Dead Song Category - "For Deadheads Only""
Okay, I'm going to define once and for all this "category" that I feel a lot of Dead songs belong to. I keep talking about this concept and I want to be able to link to this blog entry instead of explaining it.
Here are songs that are NOT "For Deadheads Only"
Truckin'
Touch of Grey
Ripple
Good Lovin'
Terrapin Station
Dancin' in the Streets
Casey Jones
Uncle John's Band
Here are some songs that DEFINITELY are "For Grateful Dead Fans Only:"
Saint of Circumstance
Alabama Getaway
Candyman
Row Jimmy
Hell in a Bucket
The Wheel
The Entire Bob Weir Solo Catalog (just kidding - kind of)
The Entire Jerry Garcia Solo Catalog (sad but true although is some of my favorite music in the world)
So I think I did an apt description of what makes a "For Deadheads Only" in my Candyman song review:
So, basically songs that are "For Deadheads Only" are songs that are loved by people that know the Dead and love the Dead but otherwise completely unknown in the world of popular music.
This is in no way to take anything away from the quality of these songs. I mean these are real classics. I freaking love the groove Saint of Circumstance, I think The Wheel is one of my favorite songs of all times by any band. I would put Jack Straw above any song ever recorded by the Eagles and the Allman Brothers too. It's just that these songs simply don't seem to really exist outside of the Dead culture. These songs aren't known by the public, and aren't played on classic rocks stations. It is just the way it is.
You know, there are entire albums that could be considered "For Grateful Dead fans Only" Go to Heaven comes to mind.
The weird thing is... I think this category of "For Deadheads Only" extends throughout more of the GD catalog than I want to admit. I mean to say that I don't know too many non Deadheads who even know Scarlet Begonias, Fire on the Mountain, Shakedown Street, Help on the Way and some of the other "big" Dead songs.
Maybe I was just born too late... all I know is that I wear a t-shirt by a skate clothing company called Dark Star and it says Dark Star in big letters on the front.... I've had people come up to me and ask me if it refers to a Science Fiction show, but no one has ever made a Grateful Dead connection. I do live in Orange County after all - perhaps not the highest concentration of Deadheads...
Here are songs that are NOT "For Deadheads Only"
Truckin'
Touch of Grey
Ripple
Good Lovin'
Terrapin Station
Dancin' in the Streets
Casey Jones
Uncle John's Band
Here are some songs that DEFINITELY are "For Grateful Dead Fans Only:"
Saint of Circumstance
Alabama Getaway
Candyman
Row Jimmy
Hell in a Bucket
The Wheel
The Entire Bob Weir Solo Catalog (just kidding - kind of)
The Entire Jerry Garcia Solo Catalog (sad but true although is some of my favorite music in the world)
So I think I did an apt description of what makes a "For Deadheads Only" in my Candyman song review:
"What I mean to say is that I've never heard anyone besides a Deadhead talk about or play this song. No one ever goes to a party and plays Candyman to get people fired up and I've never noticed anyone ever throwing quarters in a jukebox and playing Candyman either."
So, basically songs that are "For Deadheads Only" are songs that are loved by people that know the Dead and love the Dead but otherwise completely unknown in the world of popular music.
This is in no way to take anything away from the quality of these songs. I mean these are real classics. I freaking love the groove Saint of Circumstance, I think The Wheel is one of my favorite songs of all times by any band. I would put Jack Straw above any song ever recorded by the Eagles and the Allman Brothers too. It's just that these songs simply don't seem to really exist outside of the Dead culture. These songs aren't known by the public, and aren't played on classic rocks stations. It is just the way it is.
You know, there are entire albums that could be considered "For Grateful Dead fans Only" Go to Heaven comes to mind.
The weird thing is... I think this category of "For Deadheads Only" extends throughout more of the GD catalog than I want to admit. I mean to say that I don't know too many non Deadheads who even know Scarlet Begonias, Fire on the Mountain, Shakedown Street, Help on the Way and some of the other "big" Dead songs.
Maybe I was just born too late... all I know is that I wear a t-shirt by a skate clothing company called Dark Star and it says Dark Star in big letters on the front.... I've had people come up to me and ask me if it refers to a Science Fiction show, but no one has ever made a Grateful Dead connection. I do live in Orange County after all - perhaps not the highest concentration of Deadheads...
Monday, March 2, 2009
Candyman - Grateful Dead Song Review
Reviewing Grateful Dead songs that start with "C" has already provided some real gems. Candyman is yet another. Candyman totally rules. This is a song I would categorize with many others as "for Grateful Dead fans only". What I mean to say is that I've never heard anyone besides a Deadhead talk about or play this song. No one ever goes to a party and plays Candyman to get people fired up and I've never noticed anyone ever throwing quarters in a jukebox and playing Candyman either.
I'm really going to sound like a broken record when I point out yet again that when I got American Beauty cassette in high school... there's no way I really liked Candyman. I just didn't have the maturity, life experience, or perhaps just wasn't burnt out enough!
So why do I love it now?
Well, fast forward to a lazy first set of a show on a Thursday night at Shoreline in 1993 and I'm feeling the effects of a variety of things I've imbibed on the road up and in the parking lot. I'm not really in outerspace whatsoever - but more like I'm melting into the fence that I'm leaning up against. I guess you could say I've got a killer body high and I swear I remember that it was still daylight during the first set. The Dead play Candyman and in that state of mind it was just the absolutely perfect mellow rock and roll song with a recognizable intro, a good old fashioned 70's country rock chorus, and of course everyone cheering during some of those great lines:
Good morning Mr. Benson
I see you're doing well
If I had me a shotgun
I would blow you straight to hell
This song is just a great 70s rock tune. This song sounds like a mixture of beer (from a can), quaaludes, and a tour bus. I don't hear music like this anymore (I'm not saying it doesnt' exist - but I don't know where it is being made).
The lyrics are about a shady character and I like that Jerry sings them first person. It reminds me that Jerry was struggling under the burden of his unwanted "sainthood" by the time I discovered the Dead but really he was just a "screwed up" guitarist with weaknesses and a sense of humor like he had always been. Like I mentioned in the Brokedown Palace review, I think sometimes I'm more impressed with Robert Hunter being able to just come up with a simple traditional "folky" or "roots" lyrics like Candyman than I am with the cosmic metaphysical lyrics like The Eleven, China Cat Sunflower, and other psychedelic concepts (but believe me - I love those too).
Jerry always used an interesting effect on the Candyman solo. It is something like a phaser or a chorus effect that has a rapid "shimmering" rate that is pretty unorthodox really but still seems to fit right into the genre.
Candyman is yet another classic from American Beauty and one that I always turn up and listen too when I hear it on a podcast or a bootleg.
Candyman Song Rating on a Scale of 1-10: 8.8
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
I'm really going to sound like a broken record when I point out yet again that when I got American Beauty cassette in high school... there's no way I really liked Candyman. I just didn't have the maturity, life experience, or perhaps just wasn't burnt out enough!
So why do I love it now?
Well, fast forward to a lazy first set of a show on a Thursday night at Shoreline in 1993 and I'm feeling the effects of a variety of things I've imbibed on the road up and in the parking lot. I'm not really in outerspace whatsoever - but more like I'm melting into the fence that I'm leaning up against. I guess you could say I've got a killer body high and I swear I remember that it was still daylight during the first set. The Dead play Candyman and in that state of mind it was just the absolutely perfect mellow rock and roll song with a recognizable intro, a good old fashioned 70's country rock chorus, and of course everyone cheering during some of those great lines:
Good morning Mr. Benson
I see you're doing well
If I had me a shotgun
I would blow you straight to hell
This song is just a great 70s rock tune. This song sounds like a mixture of beer (from a can), quaaludes, and a tour bus. I don't hear music like this anymore (I'm not saying it doesnt' exist - but I don't know where it is being made).
The lyrics are about a shady character and I like that Jerry sings them first person. It reminds me that Jerry was struggling under the burden of his unwanted "sainthood" by the time I discovered the Dead but really he was just a "screwed up" guitarist with weaknesses and a sense of humor like he had always been. Like I mentioned in the Brokedown Palace review, I think sometimes I'm more impressed with Robert Hunter being able to just come up with a simple traditional "folky" or "roots" lyrics like Candyman than I am with the cosmic metaphysical lyrics like The Eleven, China Cat Sunflower, and other psychedelic concepts (but believe me - I love those too).
Jerry always used an interesting effect on the Candyman solo. It is something like a phaser or a chorus effect that has a rapid "shimmering" rate that is pretty unorthodox really but still seems to fit right into the genre.
Candyman is yet another classic from American Beauty and one that I always turn up and listen too when I hear it on a podcast or a bootleg.
Candyman Song Rating on a Scale of 1-10: 8.8
Disclaimer: This is part of my review of every Grateful Dead song from A-Z. Music is a beautiful thing because it is so personal and subjective, so keep in mind that this is one man's opinion (and be sure to read my blog manifesto to understand a little more about where I'm coming from).
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