Jack a Roe - Grateful Dead Song Review

This is a hot little ditty that was prevalent in the early part of the 1st set from the late 70s pretty regularly through the band's final tour. Jack a Roe never officially was released on a studio album but there is a studio "outtake" from the Go To Heaven sessions. That version is nice, but the live versions are where it's at.

Jerry must've really liked this one.  He played it a lot and also played it in the JGB acoustic band.  He pretty much consistently delivered great solos over this chord progression.

I would say that Jack a Roe is definitely "underrated." I don't think it will make anyone's top 10 list, but it was pretty a pretty smoking first set tune.

The song is credited to "traditional" so it probably goes way back and is an English war time tale of a girl who dresses up as a man to be with her lover who is enlisted in the Navy.  It's a stirring tale of love and risk with a happy ending.


Favorite Versions of Jack a Roe

Jack a Roe popped up on Reckoning as it's first "official" release, and that's a memorable version.  But truthfully, you can hear great versions quite often if you listen to bootlegs from almost any era starting in the late 1970s. In fact, it's so consistent that I have a hard time even thinking of a "standout" Jack a Roe but I'm sure most true old school head could rattle off a specific show with a killer version.  I can't say I've ever heard a version where the band really "stepped out" on the song, it was always played pretty straight.

The youtube I posted below was one of the first that I found and a pretty great version.  Jerry is playing The Wolf which is always nice to see. Thanks to splaif for posting this on youtube.


Jack a Roe Rating on a Scale of 1-10:  7.9

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(read my blog manifesto to understand my Grateful Dead background a little more).

Hey Mona - Grateful Dead Song Review

I forgot Hey Mona previously when I was working my way through the alphabet, and who can blame me? It's super rare.  It was played twice (once in 1972 and once in 1991).

It's rare but it's good. The song is often referred to as simply Mona and the youtube below captures the audio from the 1991 version.  It's a catchy song played over the famous "Bo Diddley Beat." Jerry sings "Hey Bo Diddley" when they first start singing.

Also, Santana and Gary Duncan (from Quicksilver Messenger Service) other guest is on this song.  Some pretty serious shredding ensues, but as always, I'd prefer just to hear Jerry and the boys playing.


Hey Mona Song Rating on a Scale of 1-10: 8.6

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(read my blog manifesto to understand my Grateful Dead background a little more).

Thanks to CraxyFingers76 for posting this on youtube.

It Must Have Been the Roses - Grateful Dead Song Review

What an amazing catalog of music Jerry and the Dead have.  This song is basically "lost in the shuffle" of a hundred other great tunes but something tells me if most country artist's had written it, it would be one of their signature 'greatest hits.'

The studio version of the song is from Jerry Garcia's amazing Reflections album. This is a 'must have' for any Deadhead - not a single disappointing track in the bunch.  It sure does sound like The Grateful Dead backing him up on that version.

This song is credited to Robert Hunter on Dead.net (both words and music - possibly the only GD song with this distinction?). This song simply has to whet your appetite for more Robert Hunter, whose catalog  I've always meant to explore more fully.  It is such a simple and beautiful country ballad.  It's just so authentic and laid back.

I remember hearing from some friends who had traveled back to see the Dead that they had gotten a hold of some blotter with roses printed on it.  When the band played this song, it provided a very special moment for them.

Favorite Version:

The version off of Dick's Picks 17 from Boston Garden September 25th, 1991 stands out to me.  This is not available streaming online (due to being on Dick's Picks) but there's a version from September 16th, 1991 from Youtube below that is also very good (albeit a few mistakes).

Incidentally, Dick's Picks 17 is probably tied with Dick's Picks 27 (December 16th, 1992) as my favorite Dick's Picks.  Both are late era shows (with Vince no less), and might not  appeal to many Deadheads as much, but I sure do wish we had more releases from this time period(which is why I wrote an open letter for the release of all 1990's era Dead recordings).


It Must've Been the Roses Song Rating on a Scale of 1-10: 9.1

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(read my blog manifesto to understand my Grateful Dead background a little more).

It's All Over Now Baby Blue - Grateful Dead Song Review

You may be surprised to know that (It's All Over Now) Baby Blue was first played in the earliest days of the Dead and of course throughout the 80's and 90's.  There was a long stretch from 1974 through 1981 where the band didn't play the song.

This song is a good example of Jerry and the Dead showing their love and respect for Bob Dylan's songwriting.  It's also a good example of the band putting a song in the encore spot that lyrically works well for the end of a show (ie Brokedown Palace: "Gonna leave this ...." or And We Bid you Goodnight.  This type of detail is what made Grateful Dead shows such a nice encapsulated "trip."

The song's lyrics are a somewhat bitter and cruel "telling off" of a lover (or some other close relation).  This kind of theme is not unlike other Dylan songs like It Takes a Lot to Laugh, It Takes a Train to Cry.  The song brings an air of "f--k you" attitude to it that I think Jerry might've connected with because of the difficult nature of his relationships and his need to frequently pick up and start fresh (with wives, family, etc).

Jerry does some pretty powerful singing during Baby Blue, as you can hear in the embed below (from 10/19/1990 in Berlin Germany).  There's one line in each verse that requires a really powerful delivery (strike another match, start anew) and the key is just perfect for Jerry's range.

The Rolling Stones also have a pretty well known version of Baby Blue.  It is from their version that the famous sample in Beck's Jackass was taken.

I'm a little less enamored with Baby Blue than most Deadheads.  I never got to see it live (although I could hear it one time in the parking lot at Shoreline), and the song has kind of a sour overtone due to Dylan's cruel lyrics.

The rest of the band really doesn't bring much flavor to this song, it's played really "straight" almost like karaoke.  Unfortunately, Bruce Hornsby is playing accordion on the embed below.  I really like what Hornsby brought to the table except that damn accordion.

Baby Blue seems like it would've fit in a little better with the JGB repertoire than the Dead's.

It's All Over Now Baby Blue Song Rating on a Scale of 1-10: 8.1

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(read my blog manifesto to understand my Grateful Dead background a little more).

Thanks Schnukleford for posting this on Youtube.

A couple of cool Grateful Dead Pictures

I'm so sorry this photo is so tiny.  This is really ridiculous for me to share it but something about it really  appeals to me.  It's a side of the Grateful Dead you don't really see  - the backstage.  I think that's Kidd Candelario in the foreground. I'm friends with him on Facebook and this is  a picture someone tagged him in.

This one is Jerry prowling at night.  He lived hard, you can just tell.  That's a special Fender briefcase that is the color and material of a Fender guitar case.  Look how dirty it is... I'm guessing this is 1980 or so.

It's All Over Now - Grateful Dead Song Review

This is a cool Rolling Stones rocker that may be alternatively known as "I Used to Love Her." I like this song.  I like that the Dead would choose a "lesser known" Rolling Stones song and no doubt it got a good crowd reaction when it was played.  I think many casual Deadheads aren't familiar with this song, possibly because it wasn't played too often. It had a nice long run however, appearing in 1976 and played all the way up until 1995.

The video below is from Alpine Valley in 1989 (thanks Kulpo42 for the upload). As always, I'm amazed and going to point out how great it is to hear Jerry play the main rhythmic figure throughout the song. The solos are great (Brent and especially Jerry) and the background vocals add a lot to the song  (also by Brent and Jerry).

It's hard not to be reminded of The Last Time because that's also a Rolling Stones song, also somewhat "lesser known," and features a somewhat similar repetitive guitar figure that Jerry seemed to really get into.  The Last Time is more of a 2nd set post "space" tune and All Over Now was more of a first set rocker.

All Over Now is a great tune that is consistently delivered (perhaps owing to its simplicity its long 19 year run in the repertoire).

All Over Now Song Rating on a Scale of 1-10: 8.5

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.

Note: comments are encouraged and appreciated (enter them below) but it takes several days for them to show up in the blog entry (due to a Disqus plugin issue).  

He's Gone - Grateful Dead Song Review

Like I told you, what I said
Steal your face right off your head

Many of us probably heard this one on Europe '72 first.  It's such a slow but very catchy song.   He's Gone just dishes up one legendary line after another (...nothing left to do but smile smile smile!).  This song was ever-present in Grateful Dead shows from it's inception in April 1972 right up until their final month in 1995.

I associate He's Gone with Truckin' and Estimated Prophet, it was a common choice to wind down after those 2 songs in the second set.  What is a little surprising is how often they segued into Drumz after He's Gone.  It seemed the Grateful Dead would typically rather use a higher tempo song to launch the Drums/Space portion of the show.

Hunter/Garcia Do it Again

Who else but Robert Hunter could be behind such literary (and weird) references as

Cat on a tin roof 
Dogs in a Pile... 

Hunter and Garcia made every syllable count in He's Gone.  It's actually a very short song with few words when you compare it to others.

I've read that He's Gone is about Mickey Hart's father who had mismanaged the band and absconded with a lot of embezzled money.  The lyrics could probably apply to that (as well as many other situations).

Personally, I've always somewhat imagined He's Gone as a song about a person leaving "the straight world" to lead the Grateful Dead life. I'm sure it's a reflection of the time of my life that I became acquainted with the song.

The Album that Never Was

Was He's Gone part of the canon of music from the early 1970's that comprise the "missing album" that I've heard Robert Hunter lament about from time to time?  It must, along with tracks like Jack Straw, Brown Eyed Women, and Tennessee Jed.

What I'm referring to is a soundbite that I've heard at least a couple times where Robert Hunter points out that there was such a prolific output during the early 1970s, he feels that there could've easily been another classic Grateful Dead studio album that never happened because the band was too busy with touring and other projects.  He's Gone and the other songs I mention all are classics that came out in this period and never made it onto a studio album.

Versions I Love

It's hard to top Europe '72's version of He's Gone. This is the quintessential version to me.

A later version that I recently heard and loved is from Boston Garden 1993 (from a great run of nights that I recently wrote about).

One thing I enjoy about hearing later versions of He's Gone is the extended vocal improvisation the band would perform at the end while repeating Oooooh, nothing's gonna bring him back.  There were always some Bobby falsetto histrionics and the occasional Phil "vocal bass lead" during this part which I always enjoy (but probably would appeal only to Deadheads to whom the band could do no wrong).

He's Gone Song Rating on a Scale of 1-10: 9.2

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.

Note: comments are encouraged and appreciated but it takes a while for them to show up in the blog entry (due to a Disqus plugin issue). Enter them below!

Hell in a Bucket - Grateful Dead Song Review

Everything works about this song, Hell in a Bucket is Grateful Dead magic.

This song came out in the mid 80's when a lot of bands from the Grateful Dead era were putting out some real garbage  (hello Starship "We Built This City" and Neil Young "rockabilly and electronica experimentation"). In fact, the entire music world was generally putting out crappy music during the greedy Reagan era. Hell in a Bucket might have never been a radio worthy track but who cares? It rocked the opening to many shows.

I like that Brent is credited for the music (along with Bobby of course), and the enigmatic John Perry Barlow penned the words.  Some of the lines seem "groan worthy," but as a whole it really works.

The spirit of this line:

There may come a day I will dance on your grave
If unable to dance I will crawl

reminds me of the rebellious and humorous spirit embodied in songs like Saint of Circumstance and Touch of Grey (which is the opening track that precedes Hell in a Bucket on In the Dark).

Hell in a Bucket is very consistent and a great opener.  Jerry would usually play incredibly great (and fast) on Hell in a Bucket, and then as soon as it's over -  it's Jerry's turn to pick a song so Bucket sets up a strong 1st set by priming Jerry for an energetic and well played 2nd song.

There's some great tunes that comprise the group of songs the Grateful Dead regularly opened with: Jack Straw, Mississippi Half Step, Touch of Grey, etc.  In my opinion Hell in a Bucket holds it's own with these.

I've included a live performance video below from a show that I was actually at - Las Vegas, Sunday June 26th, 1994. This video brings back great memories from that night.  I believe this is the exact a feed from the video screens the Dead used on that tour - and some very creative intermingling of footage can be seen.

There's an "MTV" style music video for this song, do yourself a favor and DO NOT seek it out.  You will be disappointed.

Hell in a Bucket Song Rating on a Scale of 1-10: 9.3

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.

Franklin's Tower - Grateful Dead Song Review

...if you get confused listen to the music play!

It's kind of weird to review this song prior to reviewing Help on the Way and Slipknot. Franklin's Tower was the final piece of the "Help/Slip/Frank" medley that kicked off many great shows. The proper context for this super upbeat jam is after a dizzying solo by Garcia during Slipknot. After a good 10+ minutes of minor key tension (starting off with the edgy Help on the Way), nothing sounds quite as nice as the beginning of Franklin's Tower.

Franklin's Tower is a great tune that features Jerry singing and soloing a ton.  I think its simplicity made it a really consistently delivered song (especially after warming up through the complex gauntlet of Help/Slip).  I never got to see this song (although I really wanted to hear it at every show I went to and told everyone so). I can only imagine what a party it must have felt like dancing to Franklin's Tower. I am sure that this song really got the crowd going whenever it was played.

Robert Hunter Gets Historical?

The lyrics seem lighthearted but have some of those deep lessons that you got occasionally from Robert via Jerry.

Some come to laugh their past away
Some come to make it just one more day
Whichever way your pleasure tends
if you plant ice you're gonna harvest wind

I actually thought this song's lyrics had something to do with colonial America and maybe even that Franklin referred to Ben Franklin, but upon closer review of the Annotated Grateful Dead lyrics site, it appears I was way off.

One poignant memory I have is the issue of Rolling Stone that came out after Jerry died, Levi's took out a full page ad that simply read: May the four winds blow you safely home.  This one meant a lot to me (pictured, right).

Cool Franklin's Tower Trivia

In Blair Jackson's book Garcia: An American Life, he shares with us a cool revelation that one source for inspiration for the chords in Franklin's Tower was the  Lou Reed song Take a Walk on the Wild Side.  Specifically, the part where the female background singers sing: "Doo doo doo doo doo... " If you sing this part over Franklin's Tower it fits perfectly.

Franklin's With no Help/Slip?

Just like Fire on the Mountain without Scarlet, I have heard versions of Franklin's Tower without Help/Slip and I must say I am not a fan of hearing it by itself.  It's like skipping dinner to eat dessert.

Franklin's Tower Song Rating on a Scale of 1-10: 9.1

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.

Friend of the Devil - Grateful Dead Song Review

Got a wife in Chino and one in Cherokee
First one says she got my child, but it don't look like me

This song is extremely well known by Deadheads and even familiar to many non-Deadheads. It was on Skeletons from the Closet and American Beauty (the first two Dead tapes I procured) so I loved this song from day 1 of my Grateful Dead fandom.

The song is really simple and catchy.  It has that kind of reckless spirit to it that glorifies the dark side of humanity (like so many Grateful Dead songs - Touch of Grey, Casey Jones, etc.).  Deadheads seem to love songs about criminals on the run, because frankly many of them are serial breakers of the law.

Robert Hunter delivers another beautiful slice of Americana in this first person tale about a man who is on the run from the law.  We never learn his crime though, but the use of familiar locations (Reno, Chino) are what really make the song great.  I think the genius is that those cities are just so unremarkable - it really helps the song appeal to all of us Deadheads spread around California (and the world).

I did not know until I looked up the credits just now that John Dawson (aka Marmaduke) of the New Riders of the Purple Sage was also credited on the music for Friend of the Devil.

The Slow Live Version of Friend of the Devil

The song was played upbeat for the first few years and then somewhere along the way got slowed WAY down.  I remember reading that Jerry was inspired to do this by some cover version he heard of the song (was it Loggins and Messina? Not sure, I've never heard theirs).

One thing I must admit is that when the slow version comes on tapes, I can't fast forward it quickly enough.  It was great when I saw this song live and was part of the crowd cheering for all the memorable lines, but not so much when I'm listening to show recordings all these years later.  The song is really simple and doesn't leave you much to look forward to.  I think the slow live version must be close to 10 minutes (the original studio version was 3:25).

Friend of the Devil Song Rating on a Scale of 1-10: 9.2

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.

Foolish Heart - Grateful Dead Song Review

Foolish Heart is in my top 5 Grateful Dead songs and I think it's the possibly the most underrated song in The Grateful Dead catalog.

Before Reading Further, You Must Listen to this Version:

This song was definitely hit and miss, and most versions are not great.  There's one version in particular from 9-18-1990 that you can hear here that is possibly my favorite live Grateful Dead recording ever.  The jam section in the middle of the song features such tight collective improvisation and the band is so "on" that it is truly a magical moment where "the whole is greater than the sum of the parts."

More about this version: Both Bruce Hornsby and Vince Welnick are playing together with the Dead at this point, and the Grateful Dead is less than a month into their new lineup (after the death of Brent Mydland in March July of 1990 - thanks Ouish).  There is a sense of hope and rebirth in this version of Foolish Heart. But more than anything, Jerry is flawless on this version of the song and the entire band is firing on all cylinders.

Strangely, the "Jam" out of this version of the song is included on the So Many Roads Box Set.  And while the Jam is great... I can't imagine why the song itself is not included as well. 

My original exposure to this version was taping it off of the radio from David Gans's Grateful Dead Hour broadcast. What's amazing is how many years and hundreds of times I played the cassette and then still managed to convert it to CD in the digital age and it sounds louder and more crisp than all of my other .mp3s. This is pretty amazing considering I originally taped it off of the radio (not a recipe for high fidelity). I attribute this to a little GD magic but I'm sure that I converted it to digital with some weird settings that cranked up the audio (I converted it via a stereo system hooked up to a CD burner).

The Last Great Jam Masterpiece

I already called Days Between the "final masterpiece" and it came along several years after Foolish Heart, but I can definitely give Foolish Heart the title of the the final jam masterpiece - because of the built in jam section after Jerry sings "a selfish heart is trouble, but a foolish heart is worse!" The Dead would stretch out on songs all the time but only certain songs had a special section for a jamming build up (The Music Never Stopped, Cassidy, and Playing in the Band to name a few).  I can't think of a song that came along after Foolish Heart with this kind of built in improvisational section.  

As I alluded above, the jam in Foolish Heart was definitely hit and miss.  Most times the band was not really in sync and the very tight punches that end the jam ("duh duh, duh DUH!") required supreme coordination and was frequently butchered.  Still, this is the chance you take when you "step out" on a song and have your lead guitarist staring down at his instrument trying to explore new territory while everyone else has to guess when the climax is coming and react accordingly.  As you can hear in the version I posted at the beginning of this article, the rewards are worth the risk.

Words by Robert Hunter

I can see why this song was pegged for a radio single.  The lyrics are really succinct and "traditional." It is a very tidy little ditty that follows the same kind of ironic theme throughout and there's not a single syllable wasted.  The song functions as a warning that we all probably wish we could've heeded at one time in our life.  I think I've read Jerry quoted as saying something to the effect that he didn't really feel this was advice he truly would give from the heart because he'd rather someone recklessly pursue whims of romance and take chances.

Foolish Heart Video: Foolish Heart was released on the final studio album Built To Last which came out in 1989.  There was an "official" Grateful Dead video for Foolish Heart. I've posted it at the bottom of this article.  The Foolish Heart video is pretty cool for a novelty but you'll probably enjoy watching one of the many live versions more (many are available on youtube).

Foolish Heart Song Rating on a Scale of 1-10: 9.8

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.

Fire on The Mountain - Grateful Dead Song Review

Fire on the Mountain is one of those "entry level" Grateful Dead tunes that everyone loves.  Of course, as it usually comes on the heels of Scarlet Begonias (as part of the eponymous "Scarlet Fire" abbreviation on tapes back in the day), the band is usually primed and hitting on all cylinders while feeding on the high energy of an enthusiastic crowd by the time Fire on the Mountain hits its stride.

Why do I call it an "entry level" song? Probably because it is so instantly like-able. It's such an infectious chant, and the entire song is built on the same 2 major chords.  It's about as simple as a song can get harmonically, so it's so accessible to the listener no matter what their musical taste or background is.

The song came from a Mickey Hart album originally and the music is credited to Mickey (words by Robert Hunter).  I have always imagined that the song's lyrics were a message from Hunter to Garcia about his life which was consumed by the Grateful Dead machine and a message to Garcia to "slow down." I have absolutely nothing to back up this theory but some lines would make sense if this were the case:

You say it's a livin, we all gotta eat
But you're here alone, there's no one to compete.
If mercy's in busness, I wish it for you
More than just ashes when your dreams come true.

also

The flame from your stage has now spread to the floor
You gave all you had. why you wanna give more? 
The more that you give, the more it will take
To the thin line beyond which you really can't fake.


Fire Without Scarlet?

One thing I've never liked the idea of is a Fire on the Mountain that is played without Scarlet Begonias prior. that's like skipping dinner to eat dessert, it just doesn't feel right.

Legendary Versions 

I wish I kept better track of the great versions of songs like Fire on the Mountain that I hear.  I think most Fire on the Mountains are probably very good but some are great.  The song is very long though and I think it has the potential to drag a little bit.  Also, the soloing is all Garcia, so if he is really "feeling it," it might push the song from great to legendary.

I admit that when I listen to live show recordings (typically on jogs, occasionally long drives) I usually listen pretty carefully to Scarlet Begonias and the jam into Fire on the Mountain, but then I usually fast forward the rest of Fire on the Mountain. As much as I love it, I've heard hundreds of versions and it's a really long and repetitive song.

I do know 2 versions in particular that I've heard many times that are really great. You are probably familar with them as well:

• Cornell 5/8/1977 (after "Take a Step Back")  you can hear this show here on archive.org.  This show is familiar to almost all Deadheads it is often touted as the "best show ever" and if you are skipping  to the 2nd set be sure to start the tape at the legendary "take a step back" speech.

• Hamilton, Ontario 3/22/90.  The video for this entire 2nd set is below  (thanks to youtube uploader jamman6565 for this upload). This version is from a highly regarded show in Canada that has been brought to my attention so many times that I think it's safe to say it has "legendary" status. This version is the tail end of the Brent era and is very high energy and very special.  This version is also included on the So Many Roads box set.

Fire on the Mountain Song 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.

Jerry Wept: A Compilation of Performances from the 1990s

This is what I'm watching this morning... wow...youtube is so great, thanks to Wheatskins for this compilation.

Eyes of the World - Grateful Dead Song Review

This not only might be a signature Garcia/Hunter song, it might be the signature Grateful Dead song.

When you hear Eyes start, it's unmistakeable. That jazzy EMaj7 chord cruises along so nicely and the crowd will respond with wild cheers.  The little rhythmic punches throughout are just perfectly placed to make Deadheads dance.

Eyes usually tops out at longer than 10:00, and features non stop soloing by Jerry when he is not singing the verse or the chorus.  My last time seeing the Grateful Dead in Las Vegas 1995, it occurred to me that after all those years Jerry was still pushing and exploring during this song.  No two Eyes are exactly alike, and he didn't seem to have any "go to" soloing phrases that he would end up on, like he did in many other songs.  It was pure exploration and improvisation.

Lyrics by (Who Else?) Robert Hunter

The lyrics by Robert Hunter are very deep while also being vague.  I've never sat down and thought too much about the meaning behind them but they still mean a lot to me. I will also say that as I get older, the words mean different things.  Being the "eyes of the world" means to me that I am not a discrete individual but rather part of this entire greater organism that is all connected together with unseen bonds of energy.

A couple of my favorite lines are:

"the seeds that were silent all burst into bloom, and decay"

this quick encapsulation of the cycle of life reminds me of psychedelic experiences which add perspective to our place in the grand scheme of things.  Also, in later years I love the way Jerry would sing "decay-ay-ay-ay."

sometimes the songs that we hear are just songs of our own

this line just reminds me of the sense of originality and spirit that Deadheads have.  If you've ever felt like you don't fit in anywhere in "normal society," but you've been welcomed into the Grateful Dead culture, then you'll probably like this line too.

As always, some great information can be found at the Annotated Grateful Dead lyrics site for this song, and a lot of connections are made between Eyes of the World and Buddhist philosophy.

Without a Net - The Peak of Eyes of the World?

Eyes of the World peaked (in my opinion) around the time Without a Net was recorded.  In fact, that's the quintessential version in my opinion.  Branford Marsalis brings just the perfect amount of color to that version.  I am sure there are better versions out there, but for me they would probably be from around this time.   Earlier versions (especially in the 1970's) rocked too hard and were played too fast. In the last few years (Vince era), the song was just a little too weak and meandered listlessly. Around 1989 and 1990 they really had the best of the energy and tightness combined with Jerry delivering great solos with the jazzy flavor he developed later in his life.

This song is probably very special and significant to every Deadhead. After Jerry died in 1995, I didn't listen to the Grateful Dead at all for about 10 years. In 2005, Eyes of the World came on my iPod when I was on a 40 hour train ride from Mumbai to Trivandrum in India. Staring out the window at the Indian countryside, I could finally appreciate the music and listen to it without the sense of loss that made the music too painful for so many years.  I was reborn a Deadhead that day and have been listening pretty constantly ever since.

No matter what show you were at (or are listening too), the second you hear the beginning strains of Eyes, the show becomes a much more memorable one. I've never met a Deadhead who didn't like Eyes of the World.

Eyes of the World Song Rating on a Scale of 1-10: 10.0

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.

On Lightning Bolt - Jerry Garcia's Controversial Final Guitar

'Lightning Bolt,' as Jerry's last guitar is referred to, has a bit of a controversial reputation.  Jerry adopted the guitar in 1993 and used it as his primary electric guitar until his death.  It is pictured above as the background to the logo for Mike's Grateful Dead Blog.

On the one hand, the tone sounds like an acoustic guitar, not like the incredibly sophisticated and "electrified" tone of Rosebud or Tiger1.  Lightning Bolt is very clear though and cut through the mix nicely.  

On the other hand, Lightning Bolt was much lighter and easier for Jerry to manage for the 3 hour Dead concerts.

On The one hand, Doug Irwin (main designer of Jerry's guitars for many years prior to Lightning Bolt)  is like a Michaelangelo to most Deadheads - and deservedly so.  For over 20 years the Grateful Dead's amazing concerts were performed with Jerry using a Doug Irwin Guitar -  from The Wolf in 1972 up through Rosebud which was retired in 1993.  Jerry left the guitars to Doug Irwin when he died - it's stated as one of the first things in his will.  The rest of the Grateful Dead (in a total dick move) intervened and prevented this from coming to fruition by claiming the instruments that the Dead used in their live concerts were property of the Grateful Dead entity, not individual performers.

On the other hand, no one really knows anything (or seems to care) about Stephen Cripe, the Florida woodworker hobbyist who crafted Lighning Bolt from watching a Grateful Dead video and mailed it unsolicited to Grateful Dead headquarters.  If you consider the unlikely story that Garcia adopted the guitar and then Stephen Cripe died when the fireworks he was making in his shed blew up (cover story for meth lab?), this story is stranger than fiction and is worthy of Dead folklore.

Lightning Bolt's Facility of Playing

Below are posted 2 sets from Richfield Coliseum on September 9th, 1993.  If you watch these (particularly the 2nd set) you will hear Jerry playing with incredible fluidity. In fact, there are times when he is utterly unconscious in the 2nd set.

While I, too, prefer Rosebud's sound to Lightning Bolt, I would definitely sacrifice some sound quality to allow Jerry the ability to more easily express himself and hit higher heights.

I actually saw the Shoreline run a few weeks before this Richfield show where Jerry introduced Lightning Bolt (according to this site).  That was a pretty phenomenal Shoreline run (by Shoreline standards).  Jerry seemed to take well immediately to Lightning Bolt because in addition to these shows there is a lot of additional great music throughout the rest of 1993.

Lightning  Bolt's 'Acoustic Sound'

Jerry was actively rehearsing and recording incredible acoustic music with David Grisman around the time Lightning Bolt showed up.  Jerry's acoustic chops really got honed during this period.  His strong fingerpicking prowess was on display not only on great albums like Garcia/Grisman and Not for Kids Only, but also in Grateful Dead concerts in the 1990s.

Jerry started adding a lot of additional voices to his guitar arrangements of Grateful Dead songs, and you can really hear his emphasis on fingerpicking in songs like Stagger Lee, Lazy River Road, and Friend of the Devil (the intro guitar riff).  So, it makes sense that he would opt for a clear sound like Lightning Bolt provided to make sure each string would ring out clearly - like an acoustic guitar. 

Behold, Lightning Bolt in a great show from Richfield.  The archive.org audio (for soundboard) is here. There will be much more discussion of this show in my next blog entry:

Richfield Coliseum on September 9th, 1993 Set 1

Richfield Coliseum on September 9th, 1993 Set 2

Thanks to "Obie's" Pictoral Guide to Jerry Garcia's Guitars for for invaluable information.

Thanks to StickyFingers44111 for uploading this incredible footage.

1listen to Bird Song on Without a Net for the incredible tone of Rosebud although I think it is actually the guitar called Tiger. 
Disclaimer: This is part of my blog about the world of The Grateful Dead. 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).

Live/Dead 1969 - Grateful Dead Album Review

If you separate the Grateful Dead into the studio act (not their native environment) and there more "natural" state as a live improvisational band, then this is kind of like their "debut" album as a live act. 

This album captures the band as they were during their formative years in San Francisco. You can imagine this album being the soundtrack for The Acid Tests and the Summer of Love. This incarnation of the band is the one that put the Grateful Dead on the map and Live/Dead is just a really great psychedelic rock album.  It actually got a lot of critical acclaim which The Dead would not always enjoy.

The whole band is great, but what I especially listen for when I put this album on is the frenetic and youthful playing by Jerry. Jerry's tone is treble-y and if I had to guess I would say he is playing a Gibson SG which is a guitar that he did not play much in the grand scheme of things. His playing at this stage still draws a lot from the blues tradition, but he definitely "steps out" extensively and you have to love the twangy sound and the rapid vibrato of a young master with a lot of energy.

The centerpiece of the album is the St. Stephen->The Eleven medley and the St. Stephen is probably the seminal version of the song on a major label release (because we're still waiting for Cornell 1977 and of course that version has Donna's errors on it).  Even so, I think The Eleven is even better than St. Stephen.  This track shows the band in a free form intro jam before Phil leads the way in to the 11/12 meter of The Eleven (a really impressive transition).  This is my favorite part of the album and never fails to give me chills.  There is definitely a little editing trickery of mixing different performances if you listen close enough to this recording, and there are overdubs on the album as well.

The rest of the album is filled with classics, Pigpen's Turn on Your Lovelight and Jerry's Death Don't Have no Mercy.  Of course, there's a 23:18 version of Dark Star and a soulful And We Bid You Goodnight.  There's no misses on this album, even the 8 minutes of Feedback has to be appreciated for how daring and unconventional it is.

I once had the vinyl of this album and it was really artistically done -  a great collector's album for those who have it.

Live/Dead Album Rating on a Scale of 1-10: 10.0

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).

Dire Wolf - Grateful Dead Song Review

Dire Wolf is a cool song from Workingman's Dead that I connected to immediately as a teenager (unlike so many of the great songs that it took me years to appreciate).  Of course, I heard it for the first time when discovering the Dead in the 1990's, but still it is a catchy and accessible tune - even to my 'unexperienced' ears.

The lyrics are the product of Robert Hunter's amazing imagination and take you to a (seemingly) long ago snowy night where the protagonist is visited by an eerie and imposing animal.

The song was played throughout the Dead's career and translated well to acoustic and Jerry would also include it on "acoustic type" shows with John Kahn.  Having the song available for the acoustic JGB means that Jerry was really comfortable with the song and performances of it seem consistently great.

It's definitely a 'classic' and the version on Workingman's Dead has some great pedal steel playing on it (by Jerry).

One interesting memory I have is hearing the tale of Jerry playing this song at Deer Creek on July 2nd 1995 after receiving death threats. That concert was played with the house lights on (for the safety of the band).  The sense of humor involved in singing these lyrics:

Don't murder me
I beg of you dont murder me
Please don't murder me

after getting death threats is pretty legendary.  I believe that version is available on archive.org here (an audience recording with some nice crowd reaction):

http://archive.org/details/gd95-07-02.aud.ball.587.sbeok.shnf

There's an amazingly long comment thread on that page about the gate crashing incident.  Many commenters have gone out of their way to point out how bad Jerry played at this show.  This may be true, (I havent listened to the entire show) but that means that what I said about Dire Wolf being consistently great is true because it's a pretty flawless version on that recording.


Dire Wolf Song 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).

Deal - Grateful Dead Song Review

Deal was a smoking first set closer (in the latter years of JGB and the Grateful Dead).  Every JGB show I saw closed the first set with this song and at least a couple of the Grateful Dead shows I saw did as well.

Deal has kind of an "old timey" honkey tonk feel to it. The song structure has 7th chords and diminished chords that you might find in classic show tunes but not very common in pop music these days. It is kind of tongue in cheek song lyrically.  The lyrics are about a wiley gambler who is giving some advice to the listener.  The character is reminiscent of the character in Loser.

The main takeaway about Deal is that it has smoking solos by Garcia that are supported by the surging energy of the supporting cast.  Jerry  played the song so many times and it is a simple progression so when I hear Jerry ripping through the 2nd or 3rd solo in Deal, words that come to mind are "workmanlike." It seems that this is Jerry "in the shop," and he is "doing the job." He always tried to play down his fame by referring to himself as "just a guitar player."

A Garcia 'Signature' Song?

Is it somewhat of a Garcia signature song? I'd say so - but only one of several signature songs (Scarlet Begonias, Bird Song, and Morning Dew are others that come to mind). Jerry was so consistent on Deal and the frequency it was played with the JGB makes me consider it a Garcia signature song.

Deal was the first track on Jerry's first solo album Garcia (released in 1972).  Other original songs on this album: Bird Song, Sugaree, Loser, The Wheel, and To Lay Me Down - so Garcia is a "must have" album.

Deal Song Rating on a Scale of 1-10: 9.0

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).

Days Between - Grateful Dead Song Review

Polished like a golden bowl... the finest ever seen.

This song review is going to really reveal my bias about The Dead (re: Jerry favoritism and preferring late-era Dead).  To me Days Between is "the final masterpiece." 

This song was underwhelmingly received when I was seeing shows, and I've heard some pretty devoted Deadheads state they don't like it.  I find this hard to understand because to me this song is completely original and very moving.  I think when Days Between was originally introduced, the "newness" factor made some Deadheads not like this song - because they'd rather hear a tune that they were more "connected" to.  But to me, all Dead music was new at the time when I heard this song, and it really stands out.

An Original Structure and Spotty Performances

This song has a really original song structure that moves from an opening theme through a building chord progression that comes back to the opening theme after the climax. It's a kind of linear structure that escalates in intensity and there is no traditional verse, chorus or bridge.  Jerry would occasionally solo over the entire chord cycle, but more commonly solo over the opening coda (when it is played at the end).

Since I specialize in listening to '90s Dead,  I've heard most of the versions of Days Between, and it usually is played after Space (or after a more upbeat song that came out of Space). Performances of Days Between were rather varied in the way the band approached it, and some are much better than others.  My favorite versions are the ones that have a pulsing undercurrent from the rhythm section that really builds in intensity throughout the song.  Other times, it was a little listless.  Sometimes Jerry was definitely more "on" than others (like all songs).  When he would take one of the full chord cycles for a solo, it is usually pretty sloppy, but when he would solo at the end (over the opening theme), it usually came off better.  There's a great version of it on a youtube video at the bottom of this blog post - thatnks to roadrunnerismyname for the post.

I think the fact that the Dead were still pretty new to the song (it was in the repertoire for about 3 years  when Jerry died) explains why it was a little inconsistent.  They were still finding their way with this tune.   

The "studio demo" version that is on the  So Many Roads Box Set is decent, but nothing great.   

Hunter and Garcia's Final Masterpiece

In my opinion, as much (or more) credit goes to Hunter on this tune. The lyrics are really special.  There is a sense of nostalgia and wonder throughout the song.   And, as the best art always does reflect life, there is also kind of a dark brooding sense of fear and loss: Summer flies and August dies, and the world grows dark and mean...  

Hearing Jerry sing "When all we ever wanted, was to learn and love and grow" still gives me chills, but I really like lines like this too: "No one knows much more of this, than anyone can see..."  To me it is saying  to not seek answers from anyone else, but just try to make the most of this short window of time we have on this planet.

The Days Between August 1st and August 9th

There's kind of a legend that the "Days Between" August 1st and August 9th have a special significance because Jerry was born on August 1st and died on August 9th.  I always try to observe this time period as much as possible to reflect on the man and the music he created.  The gamut of emotions that this reflection brings are as varied as the range of  themes that are present in Days Between: from wonder to fear. From joy to loss.

Days Between Song Rating on a Scale of 1-10: 9.9

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).

Day Job - Grateful Dead Song Review

Keep your day job ... until your night job pays!

Day Job

The legend goes that this song is the only that was every nixed due to the overwhelming request of Deadheads  at large.  I think I heard Robert Hunter quoted as saying that. Can that really be true? Then how do you explain songs like Corrina ("Velveeta") and Easy Answers ("Cheesy Answer") not getting dropped due to overwhelming demand? Well, maybe they would have in due time; "Day Job" did come along a decade before those gems - in the early 80's. That was a much different time in the arc of the Grateful Dead experience.

What is it that everyone hates about this song? It must be the message.  I don't think it's terrible at all.  It sounds like a cross between U.S. Blues and Might As Well, with a dash of Billy Joel's Only the Good Die Young.

"It Must've Been The Lyrics"

It must've been the implied message of maintaining employment that rubbed everyone the wrong way.  I guess I can relate because when I was at Dead shows I was pretty much experiencing the opposite of my day job.  Imagine if you quit your Day Job to follow the Dead on a tour and during a psychedelic experience you hear Jerry sing those words.... this could cause a powerful internal conflict, short circuiting your enjoyment of the show.

But to give thissong "legendary" status of being rejected is a bit harsh. I mean... how much more of a bummer can hearing this song in the first set be than "Little Red Rooster," "The Same Thing," or even "When Push Comes to Shove?"


Day Job Song Rating on a Scale of 1-10: 5.0


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).