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).

Cosmic Charlie - Grateful Dead Song Review

Cosmic Charlie from Aoxomoxoa is a song that has been granted legendary status by the Dead community.  It seems to almost have a St. Stephen level of mysticism attributed to it.  I remember seeing a picture of some Deadhead holding a sign that counted the number of shows since the last Cosmic Charlie (this was a well known tradition of some sign maker to count the shows until St. Stephen returned).

The song is beautiful and original. It is a slow shuffle, that is mellow and really captures a stoned vibe. When I picture Cosmic Charlie, I imagine an R Crumb character for some reason.   The song seems really built around the meandering vocal melody, which is very unique, and  the harmonies are none too ambitious, like they would be on American Beauty. There are unique long phrases throughout which make the song a departure from standard 4/4 type rock song.  This is pretty standard on Aoxomoxoa as is some of the really "psychedelic"imagery in Hunter's lyrics:

Calico Kahlia come tell me the news

Calamity's waiting for a way to get to her

Rosy red and electric blue

I bought you a paddle for your paper canoe

I feel that this song is a relic of that time and place (The Haight in 1967 - the Summer of Love). I think it probably really appeals to people (especially Deadheads) who remember this time period  (or if they don't remember, they at least lived through it...)


Cosmic Charlie was played about 30 times between 1968 and 1971
and then resurrected 6 times in 1976.  There was a  show I've heard in the 1990s where Jerry played the opening figure to it coming out of Space, but then changed his mind and played something much more predictable - maybe it was Wharf Rat.  That Cosmic Charlie employs some really "unique" phrasing and a "one of a kind" song structure probably made it not a candidate to be unleashed on the rest of the band as a surprise, and also probably contributed to the very few live plays this storied song ultimately got.


I really don't love this song like I love other Aoxomoxoa songs like St. Stephen, China Cat Sunflower, Mountains of the Moon, and even Rosemary.  I (sadly) didn't get to experience the Sumer of Love or I think I'd appreciate it more (and also R. Crumb's artwork).

Cosmic Charlie Song Rating on a Scale of 1-10: 7.8

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).

Aoxomoxoa - Grateful Dead Album Review

While it seems that American Beauty and Workingman's Dead seem to be considered the pinnacle of the Grateful Dead's studio output, as I listen to Aoxomoxoa again right now, I'm thinking I like this album even better than both of those.

Aoxomoxoa is such a "Grateful Dead" album - filled with great songs that are very original in their structures and chords. These songs run the gamut of lyrical content - from mystical psychedelia to Americana.

Also, I think Aoxomoxoa is a triumph of production. While many of the Dead's studio albums (like Workingman's Dead and American Beauty) are really traditional in their delivery of rock songs that fit into the existing realm of popular music at the time, Aoxomoxoa has tracks that are creatively recorded with unintelligible lyrics (like Rosemary) and sparse open arrangements (like What's Become of the Baby).

Obviously the opening track St. Stephen is one of the most beloved Grateful Dead songs of all time and this studio version is really fantastic. A favorite part of mine has always been the slow section:

Lady finger, dipped in moonlight...

This section has beautiful sounding chimes in it and an odd sounding bowed instrument in the background. These effects were forsaken live, so I always appreciate the studio version for these sounds.

Dupree's Diamond Blues, Doin' That Rag, and Cosmic Charlie are all interesting rock songs that have somewhat traditional "old timey" lyrics but the song structures are really pretty unique and untraditional. They are kind of a hodge podge of what the Grateful Dead were all about and therefore very unique and original tunes.

I have previously reviewed the song China Cat Sunflower and pointed out that the studio version has some elements to it that are really cool and make it stand apart from any of the live versions. Just like St. Stephen, I find myself often wanting to hear the studio version of China Cat Sunflower because of its excellent production and sound effects.

Mountains of the Moon is a very beloved Jerry acoustic song but in my opinion still totally underrated because I think the song has some magic in it that transports the listener to another dimension. The choice of harpsichord - an outdated archaic instrument - is surprisingly perfect in Mountains of the Moon. This is a great example of how Aoxomoxoa is "all over the place" but still works perfectly (just like the Dead which always bridged current and futuristic music with classic sounds).

As mentioned before What's Become of the Baby and Rosemary are the songs that I find to be very creative and untraditional. This makes me like them all the more and I really think Rosemary is one of the prettiest songs the Dead ever recorded.

Aoxomoxoa is the perfect Dead album from their early years.

Aoxomoxoa Album Rating on a Scale of 1-10: 10.0