Day 16: The Other One, 2/5/78

The Other One, Dick's Picks, Vol. 18, 2/5/78

Serendipity. In my experience serendipity is one of the greatest gifts that the Grateful Dead ever gave me. The beautiful aspect of this is that even though I’ve been listening to the band for more than half of my life (thirty years upon my head…) I constantly get turned on, my mind blown, and a range of other emotions and sentiments when I listen to their music. There is something for every occasion, whether in the Dead’s oeuvre, or the Garcia or Weir catalogs, and all the rest. This continued sense of serendipity, adventure, and wonder is what inspired me to take on this project.

I’m actually writing this on Saturday night for my Sunday post because I know that I will have precious little time to work on anything of my own tomorrow. Not to sound too pedantic, but that’s life with kids. You know who I give a TON of credit? Moms and single parents. I have no idea how they do it. I love my boys, but having to occupy the interest of my 2 year old son for an entire weekend is a draining process. Those who have gone before will always say that it gets better. Our second kid arrived just last week so we’ve been here before, we know it gets better, but knowing that doesn’t make the here and now any easier. That’s something that most parents have to find out the hard way, I think.

So I just happened to click on this version of The Other One and as I listened to it I realized that it mimicked the pace and frenzy of the day I had just experienced, the peaks and valleys. Of course your mileage may vary, but no matter how you break it down there are some interesting things going on in this song.

The Other One comes rolling out of drums with Phil leading the way. Jerry immediately takes the lead and feels his way into the space of the song. Keith floats effortlessly around what everyone else is playing and Bobby’s signature “jangly” guitar tone cuts through at all the right times. Jerry works himself into a frenzy and Phil follows suit, even hitting some notes in the upper register before settling back into the sweet spot further down the neck. The band continues at this pace, slightly shifting dynamics only to return to where they started, for several minutes. Around 3:20 things start to calm down and the band finds the groove that sets the foundation for the lyrical section of the song. Donna and Jerry add their “comin’ around”s, although they lack a bit of conviction. Jerry starts to meander a bit in the succeeding solo, and his tone seems to change a bit. There’s a bit more echo (reverb maybe) to my ear. Around 5:40 they start to build again. Clearly the what preceded was the eye of the hurricane as the band returns to the aesthetic they started the song with. Jerry goes really high with a flurry of trebly notes that signals the return to the second verse. This verse is not like the first one and has a lot more oomph! to it (although the “comin’ around”s could still be better). Once everyone finishes singing the bottom drops out of the groove and eventually everyone but Jerry stops playing. Clearly Mr. Garcia is looking for the thread that connects the bombastic Other One to the plaintive and mellow Wharf Rat that would follow.

Day 15: Next Time You See Me, 4/17/72

Next Time You See Me, Europe '72 - The Complete Recordings: Copenhagen, Denmark, 4/17/72

This morning was full of excitement in our household. Our two year old was starting a new session of swim lessons and he was really pumped for it. It has probably been almost 6 months since we were last enrolled and every time we drive by the local rec center where the pool is he says he wants to go swimming. Since kiddo #2 arrived we’re able to settle into a schedule and swim lessons help to occupy kiddo #1 for an hour or so on a Saturday morning when we don’t have any other plans.

That sense of child-like enthusiasm led to today’s selection. Part of this choice is related to the fact that I haven’t given any Pigpen songs the nod yet. While I’m a big Pigpen fan time on the weekends for listening is limited so this shorter tune was a good bet. When I decided on a Pig tune I knew I wanted to get something from his last hurrah - the Europe ’72 tour. Despite his failing health you can tell he really put everything he had into this tour, which I’m sure was no easy task. There weren’t a lot of extended Pig raps like in years previous, but when it was his turn to take center stage he made it count. Pig was the Dead’s REAL front man, Jerry himself said as much. The reason for this particular version is also related to that fact that some video of this show circulates and it’s the only video I’ve ever seen of Pigpen in action. Every time I listen to this song I think of him there in his cowboy hat giving the blues hell.

Pig was the bluesman of the group and I really like his blues songs. I think this is why it grates on me a bit when Bobby tackled blues songs. There are a handful of Bobby blues songs that are consistent skips for me (Little Red Rooster, C. C. Rider, etc). Garcia didn’t lead as many straight blues tunes over the years, Big Railroad Blues is the primary exception that immediately comes to mind, and that one is a rocker blues number so I almost always enjoy it. Some of that is probably my natural Jerry bias, but at least I can admit it!

The Nash strat (given to Jerry by Graham Nash, hence the name) was in full effect on the Europe ’72 tour, and Jerry conjures some classic blues licks out of it. This Pigpen number starts off the normal way with that sweet, syrupy guitar tone. Phil swings away at the bottom and Jerry adds some nice chord based licks under the first verse. Pay attention to Billy’s snare drum throughout the song. It’s got a mellow crack to it and he sense of rhythm is just on point. The first solo section starts with Pigpen on harmonica. A real treasure this is, and Pig blows a mean harp on this number. Garcia immediately follows with a go-round of his own embellishing the melody with down home blues licks. Keith energetically swipes his hand across his piano to end the section and send it rollicking back into the next verse. The band is really cooking now and Keith hits the piano with a ferocity that did not frequently emerge from him. Of course, several measures later he’s using a deft touch, which really displays his sense of dynamics in the course of a chorus. That’s pretty cool when you think about it. Jerry spins a few more choice licks out of his strat and he and Pigpen finish this quick powerhouse with a flourish of guitar and harp.

Day 14: They Love Each Other, 2/26/73

They Love Each Other, Dick's Picks, Vol. 28, 2/26/73

Ok, this one may be a bit cliche, but that's part of the fun of music, right?, the ability to appropriate and apply the (perceived) meaning of a song to one's own life. The Dead didn't write a lot of love songs. In fact, I remember reading or hearing somewhere that Garcia said he actually sat down and tried to write a legitimate love song once (appearing on the Shakedown Street album). They Love Each Other doesn't have the sappy sentimental element that endears (or is it plagues?) so many love songs. Like a number of the band's other songs it started off as a much bouncier song and over the years evolved to a more laid back, less jaunty arrangement. Whether that was intended, a result of chemical influences, or something else I have no idea, but I've always preferred the peppier versions from early 1973.

On this night on the Great Plains, Garcia starts off by laying down the standard intro lick with a slinky, ready to slapback guitar tone. As the vocals start the whole band kicks in and Keith takes a few flights of fancy at all the appropriate times. During the second verse you can actually hear a fan yell “woo!” so you know the boys are hitting it right. By the first chorus this little ditty is chugging along like a locomotive (not one that will fall off the track though!). Jerry dances intricately around the melody during the solo that follows. This is ’73 so only Billy is back on the kit and you can tell the band has a lot more room to breathe. During the second chorus Bobby really accents his rhythm playing and Keith oscillates between tasteful runs and block chords in the bridge before heading back to the verse. As Jerry sings the final chorus it actually sounds like Bobby is throwing in some lead runs before the song comes to a close. All in all a solid version of this arrangement of this great tune!

So turn this one up, grab your special someone and boogie for a few minutes today. I'm sure you'll both be... Grateful... if you do!

Dead For A Year on Twitter and other updates

I've been tweaking the site almost daily and I hope readers are not only enjoying the content, but some of the extras as well. The most significant may be the spotify playlist. Although not everything is present on that service enough of it is that it should be a useful tool to hear what I'm hearing and not having to rely on subjective recordings from archive.org (even though we all love it so much!).

I created a Twitter handle specifically for this blog. I will continue to link all posts on my personal account as well, but for anyone who doesn't care about my other interests this will provide a signal path amidst the noise.

Follow this blog at @deadforayear

There is a feed in the left side bar so you can just click follow there if you're so inclined.

I'll see about getting a dedicated Facebook page in the next few days as well so keep your eyes out for that.

Almost halfway through month one and there are so many good tunes to get to. I'm really enjoying this so far so please feel free to provide comments, feedback, etc.

I have a link to selection stats and plan to post a running analysis at the end of each month. After 2014 we'll see what happens in 2015!

There's a chance I might move this off blogspot onto its own domain, but I will update on that when/if it happens.

Thanks!

Day 13: Throwing Stones, 9/25/91

Throwing Stones, Dick's Picks, Vol. 17, 9/25/91

I got this song stuck in my head last night when I was playing with my two year old. At one point he said "Ashes ashes, we all fall down" as is common for kids his age that are exposed to children's rhymes. Of course for Daddy this line calls forth this Bobby song. It's certainly not the first time he's said this, nor is it the first time I made the connection, but I digress.

So with this song in the back of my mind I went looking for a good version. When I saw the cover of DP17 I knew I wanted to give it a whirl because I like the setlist of that release (and the bonus Eyes is in my top 3, for sure. I have no doubt it will appear at some point in the next year on here), I hadn't listened to it in a while, and I knew that it was a Hornsby show. DP17 was one of the first Dick's Picks that I purchased, too. My freshman year of undergrad I met a guy on the men's soccer team called John and we had very similar musical interests and we went to a few shows together before he transferred to a different school. But nevertheless I remember hanging out in his dorm room and listening to DP17 so this release always carries a positive association with me.

This was the penultimate show in a six night run at the Boston Garden. Almost immediately you can tell that this is a very full sounding version of Throwing Stones. Vince’s electronic keyboard is present, but so too is Bruce’s grand piano. They actually work very well together, the former adding more sustain to the sound and the latter trickling out melodic runs like a bubbling brook. Jerry seems to stumble a bit after the “money green” line, but makes up for it in the brief solo interlude between verses with an easy solo dripping of sweetness. The band starts to crescendo as Bobby tells us we are all “on our own” before Jerry takes a stab at another solo. Phil holds down the bottom end nicely during the solo and adds some really cool fills underneath. Garcia’s solo isn’t flashy and dances around the melody before passing the task over to Bruce who takes the same melody-based approach around 5:30 with all kinds of interesting flourishes and twists and turns. The band continues to build momentum until (ashes ashes) it all quickly changes dynamics for the final verse. Bruce continues to add tasty runs through this stanza, and the song comes to its typical close before segueing directly into Not Fade Away. This is an instance where you can really sense the impact that Bruce Hornsby had on the band and how much he added to their sound and inspired them, especially Jerry to play better.

Day 12: Terrapin Station, 4/6/82

Terrapin Station, Road Trips, Vol. 4, No. 4, 4/6/82

When I selected RT4.4 today I wasn't expecting to settle on Terrapin. I really wasn't. Glancing through the setlist I had my eyes on Big Railroad Blues and Shakedown Street as possible contenders for today, but I think the anticipation for Shakedown had me overlooking Big Railroad. I was in the mood for something upbeat that really cooked. I actually found the Shakedown to be a bit plodding and lacking the energy that truly makes a Shakedown special. I skipped over Lost Sailor because it's a skip song for me. It just seem sonically... well... lost in my opinion (excuse the pun) and I can never get into it. Saint of Circumstance picked things up and for a moment I thought that might be the song, but once I heard the opening riff to Terrapin I was instantly hooked. I haven't listened to this show in quite a while and that Bobby riff just pulls me in every time. It's amazing how quickly one's listening desires can change. Here I wanted an upbeat rocker and settled on a more mellow story-song. All the folks over at dead.net clamoring for more 80s releases lately have made me very open minded toward the 80s. That's not to suggest that I dislike the decade, I like all Dead eras, but I think I'm just a bit more receptive at this point and interested to hear what was going on at the time. This Terrapin is nice and certainly worth a listen.

To me, this version of Terrapin is very Brent-centric. Or perhaps it's more accurate to suggest that Brent's work on this track is partly why it stands out to me from some other versions. His choice of electric keyboard adds a tone that just seems to fit this version. The solo passage between Lady With A Fan and Terrapin Station starts off slowly, as Jerry lays down a line and Brent mimics, and then embellishes the line. In the jam out of Terrapin into drums Brent is again a force on the keys laying down some nice melodic runs. Another reason Brent stands out on this Terrapin is that elsewhere in this show he absolutely tears it up on the Hammond B-3 (e.g. Big Railroad Blues, Truckin') so the more delicate timbre of the keys and the precision in his playing set this one apart for me. I'm a big fan of Terrapin, especially versions from 1977, 1989, and 1990. I find it good to listen to versions in other eras too though, not only because they're unique and interesting like this version, but because they make me appreciate the versions that I really like that much more.

Day 11: Uncle John's Band, 12/26/79

Uncle John's Band, Dick's Picks, Vol. 5, 12/26/79

I was first introduced to the Dead by Jesse Wren, a kid I knew in 8th grade. Like many, I'm sure, my first entry point to the band was Skeletons in the Closet. Interestingly, I shed my copy of Skeletons years ago because I had all the other albums and didn't need it, but it's contents have proven their durability over the years. The first Dead song that I could call my favorite without reservation was Uncle John's Band. Again, I'm sure I'm not the only one who found this song's accessibility as an entry point to the Dead. While I now find it difficult to name a favorite Dead song, as it changes by the day, UJB is always in the conversation.

This New Years run in 1979 is one that seems to have garnered a bit of infamy over the years. The 12/26 show was released at DP5, and 12/28 was released as RT3.1. The latter was also the topic of discussion on a recent episode of Tales from the Golden Road (12/29/13 broadcast). I had heard previously plaudits suggesting that the 12/26 version of UJB is one of the best. The song has seen a number of different iterations and arrangements that it's difficult to name a definitive version; studio acoustic, live acoustic, live electric all have their own nuances and rewards for the listener.

In this version Garcia meanders through the intro and Brent supports with a bit of the rinkety-plinky keyboard sound that was common for him during his first few years with the band. The vocals are solid all around without some of the, er... variations that marred some version of the song. This is one area where Brent was a solid addition to the band in my opinion; his strong vocals. Garcia's first solo starts with some lightning quick riffs that quickly segue into a more legato, comparatively, feel before returning to the quick bursts of energy before heading back into the next verse. The tension and release in Jerry's solo is evident as the peaks and valleys reveal themselves. Phil is present throughout and keeps everything moving forward (or is it furthur?). After the singing is done, around the 7 minute mark, the band moves into the minor key ending jam. Garcia flips on his envelope filter and coaxes some interesting sounds from his trusty axe. The effect change may also be a subtle hint to which song the band would play next, as anyone reading the setlist can suss out on their own. The crescendo of this section continues to build only to devolve quickly as the band adjusts their timing and tempo for the 7/4 monster that is Estimated Prophet.

There is little fault to be found in this UJB.

Day 10: Big River, 8/13/75

Big River, One From The Vault, 8/13/75

 

Sometimes you just feel like something different.  In the back of my mind I know what a given Dead era sounds like so I scan through my library looking at album covers to see what might pull me in on any given day. As I sat down to compile info for our 2013 taxes today I opted for One From The Vault. I haven't listened to this show in a LONG time, but I know it's got a great Help > Slip > Frank with a fantastic Bill Graham intro. So I decided to give it a spin. Boy, what a treat! This show has a bit of everything: rock, funk, jazz, you name it, it's probably here. The Dead didn't play a lot of shows in 1975 during their hiatus, but what they DID play really stuck out. This whole show is no exception.

When you sit down and think about what the Dead did with this country tune it's pretty amazing. It's got that train-barreling-down-the-tracks drum shuffle, and Weir's funky rhythm part underscoring the entire operation. One of the things I love about this entire show is Keith's playing. He's really putting it to the Fender Rhodes and the sound is just so classic and warm and sweet that it takes a bit of the edge off the funk in this tune, but adds to it at the same time. Keith takes a solo around the 2 minute mark that showcases what exactly I'm talking about here. Just a crazy dynamic. The star of this track, and I've seen discussions elsewhere about it, is Garcia. You can tell that he is fired up and he coaxes notes out of his guitar in rapid succession at a blistering pace. Pretty much the only time Jerry is NOT tearing it up on this song is when he's singing. When his vocal services were not needed he just lets loose. The final solo pairs Jerry and Keith nicely and seems to really cement them as the stars of this particular version of the song. 

This is one of those shows that should be in every Dead Head's collection.

Day 9: Mama Tried, 4/18/70

Mama Tried, Family Dog at the Great Highway, San Francisco, CA, 4/18/70

Yes, mama tried, but sometimes daddy tries, too, and is just as wiped out at the end of the day. Trying to keep a toddler entertained for an entire day is quite the challenge. Needless to say it's been a long day. Some friends are over to entertain the toddler at the moment so I was able to steal away a few moments to do some work. I put this on while I was working and I'm glad I did.

When this release was announced the big to do was about the mini set from Pigpen at the end. However, the track that stood out to me the most was the version of Mama Tried. It's not just the acoustic rendition, which is, of course, pleasing, but the entire arrangement is different. Most noticeable is the fingerpicking guitar part. I absolutely love it in this version, but at the same time I can see (or rather hear?) how it might not have translated as well with the full electric band. It's got a sense of fragility and nuance that can be lost in the sonic bombast that is the Grateful Dead. But here, in the quiet acoustic nook of the Family Dog, a song we've heard hundreds of time is given new life.

Forrest Gump famously said that life is like a box of chocolates and you never know what you're gonna get. It's fair to say that swapping out "box of chocolates" for "Grateful Dead" would be just as, if not even more, accurate.

Day 8: Truckin', 2/19/71

Truckin', Three From The Vault, 2/19/71

In a lot of ways Truckin' is the quintessential Dead song. It's got a bluesy feel, a driving beat, interesting lyrics, and some serious jams. After spending the day chasing toddlers around it seems like an adequate description of what was going on. And since it's almost 9pm and I'm just getting to this now, I needed a good, peppy song to help motivate me to push through and write tonight. "One good thing about music, when it hits you feel no pain." Well, that may not be entirely true, but I certainly understand the sentiment, and yes, sometimes music can help push you through. This song certainly fits that bill for me today.

When looking for a version of Truckin' for today I wanted something a bit more raw so the 70-71 period seemed ideal. Glancing through my options this one just jumped out at me. I've always liked pretty much everything I ever heard from this Capitol Theatre run, so I felt confident diving into Three From The Vault. I know that much of this run was recorded in multi-track for what became the Skull and Roses live album. I sure wouldn't mind a box set released of this whole run if that were possible! This is the first show without Mickey in the band, as he left after the previous night's show until the last night before the band's hiatus in 1974 at Winterland (10/20/74).

This version of Truckin' starts off the first set and just has a ton of energy. I love how the crowd is mixed in to the song in places and you can hear them erupt as the song starts off and clapping along as it pushed along down the setlist. I love Garcia's guitar tone in this. It has a real thick tone in the first minute or two. By the second verse it's a little clearer and cleaner, but still sounds great. Without knowing for sure it sounds like a Strat (or some other guitar with single coil pick ups) into a Fender amp. Needless to say it sounds great. Pigpen's organ playing is very understated through most of the song, and provides some really nice sustain. He steps out for a few brief measures here and there with some added flourishes that really sound good. The "Get back truckin' on" part at about 4:45 has both Weir and Garcia just belting it out and Pig in the background shining on organ. The guitar solo that follows is all kinds of tasty and Garcia lays down some really solid blues based lines. Billy is really pounding the skins too, almost as if Mickey's absence lights a fire under his throne or perhaps he's taking out his frustrations on his kit? Phil said that Billy played like a "young god" on the Europe '72 tour, and this show seems to be in that same vein.

Day 7: I Will Take You Home, 3/25/90

I Will Take You Home, 3/25/90, Dozin' At The Knick

This song is a bit obvious for today. My second son was born on 2/6/14 at 6:16am, and we brought him home this afternoon. This song really speaks to the occasion in both a lyrical and metaphorical way. Swap out the words "little girl" for "little boy," as I'm sure plenty of Dead Head parents have done over the years, and this song becomes immediately applicable to your life. I know that Brent had his demons and that in the end the promises he makes in this song ultimately became hollow when he passed, but I've always chosen to focus on the sweet, sentimental, and parental aspects of this song. I've always liked the tune, but it's taken on increased significance for me since my first son was born and it's just as poignant today with my second.

I only have three versions of this song on official releases: the album version on Built To Last (which I actually heard in the car this morning and helped prompt this selection), the Dozin' version, and the one on Nightfall of Diamonds.

I opted for the Dozin' version because it's the one I'm most familiar with, and I love the Spring of 1990. This particular version comes out of space and Jerry is working with various members of the brass section throughout. I know that a lot of people don't like Brent, especially when he sang, and find this song a buzzkill, but not me. I find the MIDI work on this very really interesting and I like Jerry's experimentation with different brass instruments. I think they add a lot of dynamic and texture to the song. Near the end, around 4:40, Brent really holds onto the final "will" of the eponymous line in the song and I just find it moving. (Kind of like the poignancy of his "rap" during Blow Away on 7/7/89.) So give this version a chance!

Day 6: Eyes Of The World, 9/7/73

Eyes Of The World, Wake Of The Flood (Expanded), 9/7/73

Today is a day 40 weeks in the making and one that I've put some thought into for the blog. I'm currently in the hospital with my wife awaiting the arrival of our second son. There are several choices in the Dead canon that relate to the idea of new beginnings and renewal. I thought long and hard about finding a Let It Grow for this occasion, but settled on Eyes Of The World. Eyes seems to have more of an innocence vibe and I find the lyrics more appropriate for such a natal event. (I'm a big fan of Let It Grow so don't be surprised if one shows up really soon. My copy of DaP9 just arrived and I'm yet to get to the third disc, but I hear great things about that WRS.)

I've always been a big fan of the Dead's studio work. I know that the band were generally not a fan of their studio efforts, but I tend to find them very underrated, especially the run from about 1970-1975. Pretty much all of the studio records in that period are solid gold in my opinion. When I got the expanded WOTF this version of Eyes really stood out to me and I've enjoyed it often in recent years. I believe this was the tour right after the album came out so this was new to the repertoire. The band attacks the jam with the passion and ferocity one would expect of 1973. The fact that it clocks in at over 17 minutes doesn't hurt either. I always dig the Stronger Than Dirt jam in these early Eyes, and Jerry just lays it all out during the jam. Keith has a nice Fender Rhodes going at the same time which has a real soft, warm sound that complements the trebly, ice picking tone of Garcia's guitar in this version. 

So sit back, relax, and give this one a spin. I think you'll find something you like in there somewhere. 

Day 5: Bird Song, 9/21/72

Bird Song, Dick's Picks, Vol. 36, 9/21/72

As I mentioned previously, I have a number of MP3 CDs in my car. Unfortunately, the device does not always recognize/play every MP3 on a given disc, even though I use the same process for converting all my MP3s. Makes no sense. On my way home from class last night the CD player in my car decided it didn't like my Dead 1990 MP3 CD so at the next stop light I quickly swapped out 1990 for 1972. Of course, the first folder wouldn't play - ARGH! - but the next folder was DP36. I quickly skipped the Promised Land opener because, honestly, I can't stand the Chuck Berry covers. They are way too common and it's the same 3 songs. When they segued one right into the next it like a kick in the setlist nuts. At least with the Dylan covers (which I tend to skip as well) there are about 10-12 songs between Jerry, Bobby, and Phil that there's a bit more variety. Actually, there are some Dylan songs I don't mind, but a lot of them I skip past...

The more I listen to Weir's playing the more I appreciate his unique approach to the instrument and especially his understanding of the rhythm guitar in a band like the Dead. As I rushed home in order to help with my son's bedtime this just kind of fit. It loped along in places, but didn't drag and has some really interesting jamming as well. Right around the 4 minute mark there's a nice melange of Keith's block chords and Jerry's lead that gives way to a Keith piano solo. I'm not enough of a gear head to know Keith's setup at this time, and I can't tell if what follows is a keyboard with some sort of effect/filter on it, but it sounds really neat. Kind of like a Fender Rhodes hooked up to a wah wah (might have been Jerry for all I know), but it folds effortlessly back into the grand piano that it makes me think Keith was spinning from one set of keys to the other. Regardless of who was doing what, it's an awesome passage and really jumped out to me as something unique.

I've read elsewhere that these late September 1972 shows were high on Dick Latvala's list and it's easy to see why!

Day 4: China Cat Sunflower, 3/17/68

China Cat Sunflower, Download Series, Vol. 6, 3/17/68

In thinking about this project for the next year I was looking through my collection of Dead releases last night and it got me thinking about how much stuff I have and how well I really know each recording. We're expecting our second kid any moment now and that sense of known unknown had me reaching for something to really focus on. I opted for something along the more primal lines and jumped in the wayback machine to 1968.

It was either between DL6, DP22, or RT2.2 today and I guess the orange cover just drew me in. Plus it was a shorter show so in the event that I had to leave work early for an arriving baby (which is still a possibility as I write this) I may still be able to get through the whole thing.

There were some nifty passages in the Lovelight that opens the set, and I really like the version of That's It For The Other One. I always liked the Cryptical Envelopment section of that piece and there's some good playing throughout that tune. But the one that really caught my attention was the China Cat Sunflower.

Phil's got some fuzzy bass as the song starts off and the vocals kick in fast. Garcia's first solo starts of very quick and nimble and Pigpen's organ adds just the right amount of sustain. Jerry's second solo is a bit more laid back and he takes his time getting to where he's going (kind of like this kid that we've been expected "any minute now" for the past couple of weeks). While Jerry certainly garners the spotlight, as is expected in a guitar-centric rock band, what really impressed me on this track is Weir's playing. His chords are chunky and his fills are unique and spot on.

Right before the 3:30 mark things get really interesting as the band switches to a minor key or some middle eastern sounding mode. The shift in mood is quite apparent and stands as an interesting juxtaposition to the rest of the song in its cheery major key. This continues for a minute at which point they slide almost effortlessly into a great version of The Eleven.

I'm sure the fans at this show were feeling as lucky as the Irish on this St. Patrick's Day show!

The whole show is solid and I'm pretty sure these may be available on iTunes or Spotify nowadays. Do yourself a favor and check it out!

Day 3: Cold Rain & Snow, 5/11/78

Cold Rain & Snow, Dick's Picks, Vol. 25, 5/11/78

This isn't a comment on the weather. Seriously!

Cold Rain & Snow is a tune that can drag if the band isn't careful. This is not one of those versions. Being that today is a Monday it helps to have something a bit more upbeat to make the day go by quicker. I spend the morning working on a PR piece for a local youth lacrosse club (LXTC) and opted for Dick's Pick, Vol. 25 this morning. Having slaked my Dead thirst the past few days with some late 80s/Spring 90s I wanted something a bit more raw. What better way to get there than by putting on something with early Weir slide. I'm not afraid to admit that I generally abhor Bobby's slide playing. He's even said himself that he basically learned how to play slide on stage. I guess that's one of the benefits of having a forgiving audience.  But this version of CR&S, which does not typically get the slide treatment, gets some from Bobby and it's not terrible. So this one stuck out to me. Donna sounds good here, too, which is always a treat. By the end of the song things are moving at a really brisk clip and you can tell the band is feeling it. As far as set one openers go, this is a solid one, and so it appropriate to open up the week with too!

It's funny that this project has me listening a bit closer when I put on an album, and in listening to the first couple discs of DP 25 the songs that I anticipated as being possible standouts didn't strike me, at least not today. '78 tends to be a bit more hit-or-miss, a little more raw than 1977 so it's always an interesting year to me. On an unassuming day sometimes it's nice to put on something with no real expectations and just see what happens, even if it's something you've listened to multiple times previously.

Many of the Dick's Picks series had gone out of print, but recently Real Gone Music started to re-issue them, starting with vol. 36 and working backwards. They're a bit pricey, probably $20-30 more than they originally retailed for, but still a lot cheaper than they used to be had on ebay, where they were frequently $100 or more. Plus with more copies in circulation the chances of finding a used copy at a decent price only increases! DP25 is available here, but it's worth checking Amazon and the usual resale sites, too.

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Day 2: Scarlet Begonias, 3/16/90

Scarlet Begonias, 3/16/90 (Spring 1990 box set; Spring 1990: So Glad You Made It)

It's Super Bowl Sunday and although I live in Denver I'm pretty much indifferent to the Broncos. Don't get me wrong, I love watching Peyton Manning play. The guy is a wizard out there. But I'm not a Denver native so I don't live and die with the Broncos. In fact, I'm much more partial to college football, even though my team (Michigan) has been a disappointment of late.

Yesterday's cold grayness gave way to a bright sunny day today here on the Front Range, albeit still cold. The stereo in my car is capable of playing MP3 CDs, so instead of carrying audio CDs around what I've started to do is take a few shows from a given year, burn the MP3s on to a CD and keep that in my car. My Dead 1990 MP3 CD has several shows from the Spring 1990 box set. I own the complete 6 show set, but the this particular track was also included on the 2 disc compilation of that box set So Glad You Made It. Because this was in my CD player today's selection is somewhat by happenstance, although I suspect this will be a common theme throughout this process.

My wife is by no means a Deadhead, but I've noticed that when my son is in my car with the Dead playing he rarely, if ever, asks to turn on different music (i.e. kids songs), but he does it all the time in my wife's car. Is Mom more of a pushover when it comes to the radio? Or does he just not like her "country" music? 

The Spring 1990 tour was recorded in multi-track (although the Spring 1990 box set was not remastered from the multi-track sources) so all of the instruments are vivid and clear. On this particular track Phil shines once again, especially playing under Garcia's solo around the 4th-5th minutes. Jerry then cedes the floor and Brent takes some tasty B3 runs, and, if I'm correct in my listening I think Bobby takes a quick chord-based solo, which is really neat. Brent has some nice flourishes in the jam right around the 8 minute mark on this one, too, and then Jerry takes the MIDI for a whirl. I'm not always a fan of the MIDI stuff, but I don't find this one off-putting at all. What makes this version stand out to me is that it doesn't go into Fire On The Mountain, which is not one of my favorite Dead songs. (Blasphemy! I know!) It eventually segues into Estimated Prophet, but the jam between the two is simply sublime. The more I've listened to the Dead closely in the past couple of years the more I can actually hear them "searching for the sound." I've always loved the riff at the end of Scarlet; that's something that never gets old to me. This version the riff leads off the jam, which is not uncommon, but it does not resurface at the end like it does as the coda to Fire in so many Scar/Fires. Instead they almost shift seamlessly into a tasty Estimated. But we'll leave that one for a possible future post.

Other candidates for today from 3/16/90: Loser and Bird Song.

I'm a BIG fan of this tour and love this box set. I hope that the fabled Vol 2 comes out soon with the remaining unreleased shows from the tour.

But do check out this Scarlet Begonias. It's a great one from this era and should be easily available!

Day 1: Iko Iko - 7/7/89

Iko Iko - Crimson, White, and Indigo, 7/7/89

The first of February here in Denver brought with it snow and cold. Here on the Front Range winter is generally more mild than people realize, but this is not one of those milder times. The high today is projected to be 22 degrees and we've had a steady course of snow over the past 36 hours or so. Of course, I was hoping that today would be a reprieve from the brief cold spell we're in because the University of Denver men's lacrosse team had a scrimmage this afternoon that I wanted to go watch, but the snow, cold, and the need to entertain a 2.5 year old eliminated that option.

Speaking of my son, he came in with my wife this morning around 7:15am to get me up to make breakfast. It's still kind of weird to think that 7:15 constitutes sleeping in, but that's life with kids. I conceded to the request of pancakes. As I started to cook I scrolled through my library for something to listen to, as music and cooking cooking came up in the discussion over at dead.net in the Dave's Picks, Volume 9 thread. Given the weather I wanted something that made me think of warmer climes.

I always search by album because I prefer to listen to entire records at a time instead of singles. And since I am familiar with all the album artwork whenever I see a particular album I know just by looking at it what era it is from and what the band was doing at that time. The one that caught my eye this morning was Crimson, White, and Indigo. This is a 3 CD set that comes with at DVD of the performance. I remember reading reviews about the show and how hot it was so it seemed to nicely counter the current weather here. I pressed play and the first set started off with Hell in a Bucket, but what grabbed my attention was the Iko Iko that followed.
  
Phil is clear in the mix and bumping along quite nicely, playing a number of tasty fills throughout the song. I noticed some nice guitar work from Bobby around 3:45-4:00, and he play some interesting stuff under Garcia's solo around the 5 minute mar as well. Throughout the song Brent plays a tasty B3. I must admit that I am a sucker for a B3. I just love the sound and it adds a lot to this particular version because Brent plays it so very well.

Whenever I hear Iko Iko I think about a band I was playing with when I lived in Chicago and the different between Iko Iko and Man Smart, Woman Smarter came up. They're basically the same song, a I IV progression in A, but what sets them apart (aside from the terrible lyrics of the latter) is the beat. One of the guys in the band mentioned how he had heard others segue the two tunes into each other and how he did not like that because it obfuscated the nuances that made each song unique.

Project Introduction

I've always appreciated show recommendations from Dead Heads. The encyclopedic knowledge of show dates, setlists, and other information related to the that some people carry around inside their craniums just amazes me at times. While I may not be the world's most hard core Dead Head I do spend a lot of time listening to the band.

Primary Objective: Post about a particular version of a Grateful Dead song every day for the next year.

A few guidelines for the project:

1. Posts: The goal is to have 365 posts in a year's time. It may not be possible to post one per day for obvious reasons. Some catch-up may be inevitable. Regardless, the goal is for 365 over the next year. After that, we'll see what happens.
2. No repeats. As in the same version of the same song. I plan to keep a spreadsheet to track everything so this shouldn't be an issue. I'm interested to see how my listening habits evolve over the project. I will likely do something with this data, but that is TBD.
3. Try to stick to material that is commercially available. I know that stuff goes out of print all the time, but this should make it easier for anyone interested in a specific cut to track down the source. Yes, I know that pretty much everything is available for streaming on archive.org, but I like the idea of being able to procure a physical copy of a release. Plus, commercial releases have been remastered and polished and, therefore, generally sound better. That said, I will try to provide links to archive.org so interested parties have a point of reference if the album is out of print.
4. Primary consideration is for the Grateful Dead, but Dead related material is fair game too. This means solo projects, post-Jerry configurations, and covers, etc.

Of course, these guidelines are subject to revision, but I think it's good to have some type of framework at the outset.

My intention is to, when possible, address WHY a given song was chosen on a particular day. Whether it be weather, special occasion, my favorite sports team winning or losing, or whatever it may be. I'm interested in the way that Grateful Dead music affects and interacts with my life. My hope is that others may consider this question as well.

While I listen to a lot of Dead I do like a wide variety of other stuff. So I may include notes about what else I listened to on a given day. Again, nothing is set in stone and the primary goal is a Dead song per day. That should be sufficiently challenging. Everything else is (Wavy) gravy!

A bit about me:
I've been a fan of the Grateful Dead since 1995 when I was in middle school. I'm in my early 30s now, and I never saw the band with Jerry. I listened to the Dead a lot, but I didn't really get it for a number of years. (I remember buying Hundred Year Hall when it came out an skipping past the monster Other One on it. Now I would never think of doing such a thing.) It seems that a lot of heads have a preference for one era or another, and that oftentimes correlates to when they got on the bus. I certainly have my favorite years, but I like it all. I expect this little experiment will reveal more about my tastes in Dead music, however, so I'm interested to see how it goes.

I am a trained historian (PhD), a sports fanatic (primarily lacrosse and hockey), a husband, a father, and a published author. So some of these things, and perhaps other facets of my life may come through in these pages. I'm not in the business of baring my soul, but rather exploring the relationship between my life and Dead music. Thanks for reading and following along!

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