Roland's Column: GRATEFUL DEAD - Dick's Picks Volumes 1-36 (1993-2005)

Review by: Roland Bruynesteyn

The infamous Dick’s Picks series (DP) of Grateful Dead releases numbers 36 installments. A few facts:

· The series ran from 1993 (when the band was still active) to 2006. Initially, releases came slow and almost without warning. Later on, they settled into a routine of 2 or 3 releases a year (in between other releases).

· The series is named after Dick Latvala, vault keeper and connoisseur of GD concerts. After his death in 1999, David Lemieux became vault keeper (he still is), but out of respect (and because it sounds so nice) the name was retained.

· Dick Latvala says “Hi” from beyond in the DP 15 booklet. As of DP 17, the word “Latvala!” is hidden somewhere in the booklet as a sign of respect.

· All 36 sets were produced from the two-track masters (that were not originally intended for future commercial release). Although they did remaster them, and polish the sound, it was not possible to remix it: if vocals were low in the mix, that’s still the case now.

· A large portion of their active career (1966-1995) is covered, with the first set dating from February 1968, and the last one dating from December 1992.

· As a consecutive ten-year period, 1970-1979 is overrepresented and the 80’s and 90’s are underrepresented, presumably in line with commercial appeal (and the shape Jerry was in, and the audio quality of what’s in the vault). Later big box treatment of the 1990 Spring tour corrected this somewhat, but then again, the complete Europe 1972 tour (73 cd’s…) and smaller boxes and standalone releases (of 1977 especially) put the stress firmly on the 70’s again. 

· The sets run from 1 cd (a second set from 1971) to 6 cd’s (2 full concerts plus bonus songs from 1977), but they mostly number 3 cd’s, i.e. 1 complete concert.

· Compared to other series and standalone releases, artwork and liner notes are pretty minimal, but later on they added some press clippings and the like

· Basically, everything is out of stock, so you’d have to look at ebay, although some are rereleased on cd by Real gone, or on vinyl by Brookvale records.

If you are into the Grateful Dead, they are all pretty much essential. If you’re not into jam music, psychedelic music, country music, bland covers of rock songs by Chuck Berry and meandering fusion music, this is not for you.

That does not mean you cannot enjoy any of their studio albums, of which I recommend Workingman’s Dead and American Beauty. Also, I think you need to get at least Live/Dead, their first live album, which is part of their official discography and can be found new and cheap in good quality.

In describing individual sets, I’ll mostly stick to the following format:

· Release number (number of cd’s), date, venue

· Band members at the time

· Peculiarities about the set lists (rarities, nice transitions, etc.)

· Overall judgement and suggestions for furthur (sic) listening if you think you’d like this one.

I refrain from giving complete set lists, as they can all be found at www.deadlists.com.

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DP1: (2 CD’s) December 12, 1973. Curtis Hixon Convention Hall, Tampa, Florida, US

Band: Jerry Garcia, Keith Godchaux, Bill Kreutzmann, Phil Lesh & Bob Weir.

This is a somewhat tentative first release, as if they did not know what to expect of it, sales wise. It’s not the complete concert. In fact, the remaining songs are not even in their correct order. Donna Jean was giving birth, so you miss her wailing on Playing In The Band and on some other tunes.

Here Comes Sunshine is one of the all time top versions and the sound overall is nicely warm and detailed. 

However, late 1973 was a great period for the band, and competition is fierce. I think this release has been eclipsed by others in the series and releases outside the DP series: DP 19 (October 19) may be my personal favorite Dick’s Pick. And then you have the Winterland box (November 9, 10 & 11, with a great Dark Star), November 14 (from the 30 Trips Box, 30 concerts from the years 1966-1995, not separately available) with a great three part Other One, interrupted by both Big River and Eyes Of The World, and Road trips 4.3 (November 20/21) with an exceptional Playing In The Band > El Paso > Playing In The Band > Wharf Rat > Playing In The Band > Morning Dew sequence.

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DP2: (1 CD) October 31, 1971. Ohio Theatre, Columbus, Ohio, US

Band: Jerry Garcia, Keith Godchaux, Bill Kreutzmann, Phil Lesh, Bob Weir

Another tentative release, as this is only the second set (and without the encore), so it’s just a 56-minute single disc, a rarity in GD releases. Pigpen is sick and not present, and Keith is in his first two weeks as a band member. No matter how competent he is, it’s apparent that he’s still learning how to blend in. Donna Jean is not yet a member (she would join early 1972).

The Dark Star is predictably great, and sound quality is nice, but again, with hindsight this release has become slightly irrelevant if you’re not an OCD collector: from the same (short) period with Pigpen and Donna absent I would recommend Dave’s Pick 3 (October 22) and Road Trips 3.2 (November 15). Both contain more tracks (and indeed, complete concerts), a nice essay and equal or better sound quality.

Special note: at least in Europe you can find many semi-legal releases from concerts that were broadcast on the radio during this period. Semi-legal in this case means: legal in Europe, but not necessarily in the US. Packaging is minimal, but so are prices. Sound quality is OK to (very) good, but there is some radio chatter and sometimes some fading in or fading out. Having bought all official releases I didn’t mind buying some of these releases as well.

If you want to go there, consider Northrop (October 19, historically important as it’s the debut of Keith Godchaux and six songs), Harding Theatre (November 7, a rare Hideaway and both Dark Star and the Other One). But regarding sound quality (and from a moral standpoint), go for official releases first.

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DP3 (2 CD’s) May 22, 1977. The Sportatorium, Pembroke Pines, Florida, US

Band: Jerry Garcia, Donna Jean Godchaux, Keith Godchaux, Mickey Hart, Bill Kreutzmann, Phil Lesh, Bob Weir.

I hate to inform you, dear reader, but this is an incomplete concert again. Other than that, this is “where it’s at”, as the saying goes. The sound quality is superb, the Sugaree is one of the best ever and the Help On the Way > Slipknot! > Franklin’s Tower is one for the ages as well. In fact, apart from Dancing In The Street, Lazy Lightning > Supplication (which I never like) and Sunrise (well performed, but it’s just a silly sentimental song), all performances are great.

Now, the Spring tour of 1977 (often narrowed down to May 1977, but that’s not really correct) is famous among deadheads. All concerts from this period are great, so your preferred concert likely depends on the set list. One WOULD need a Sugaree from this era, but whether you like the disco rearrangement of Dancing In The Streets is debatable. I don’t, and it is included in this set…

For a long time (actually for 8 years, till the release of Dicks Picks 29, containing the May 19 & 21 concerts), this was the ONLY officially released concert from this period in the Dead’s history. And Cornell (May 8; its reputation towers over all others, partly because it was one of the first easily available tapes) is still not released. I expect a 40th anniversary release in 2017, if they did indeed get the tapes back. In my humble opinion, a Spring 1977 Grateful Dead concert belongs in any serious, substantial music collection. 

Now just sit back and wait for my assessment of the first absolutely essential Dick’s Pick…

MUSIC IN BOOKS: BLAIR JACKSON - Garcia: An American Life (Penguin, 2000)

ISBN: 978-0-14-029199-5 (paperback)
Review by: Roland Bruynesteyn

The week between the anniversary of Jerry Garcia‘s birth (August 1, 1942) and his death (August 9, 1995) is called The Days Between by deadheads, after a latter day Grateful Dead song. For many music fans, it’s a bittersweet time, because Garcia was a good guitarist and songwriter, but allegedly also a lot more than that. For many people he was a cultural icon. He was like the epitome of love and peace, “being free and being true to oneself and a tremendously positive force. This is a time of year to celebrate him and his art”.

Yeah right. You wouldn’t know it from reading Garcia – An American Life by Blair Jackson. Blair knows the Dead inside out, having edited a fanzine for 10 years, having written several books about the Dead. And in the last few years he wrote several liner notes for releases from the Dead’s Vault. He’s a fan, a friend, very knowledgeable and a good writer.

The book is strictly chronological and devotes attention to Jerry’s personal life from his birth to his death, but also to new (Jerry) songs as they start to appear in the repertoire. An index and a discography (up to date until the original publication date, 1999) are provided as well. It’s an entertaining read, about Haight-Ashbury, the acid tests, the 60’s in San Francisco in general, the evolving Grateful Dead and its (unwilling) leader.

But, unfortunately, Jerry comes across as not necessarily very sympathetic and as being rather weak in business decisions as well as in his personal life. Whenever he wanted somebody out of the band (or out of his side band) he let others (band members or managers) do the dirty job. As a husband and father you cannot say he, unfortunately, failed, you’ll have to conclude he just did not try. Although he supported each and everyone of them financially, emotionally he treated his wifes and girlfriends terribly and he neglected his children, sometimes for years. Not because he was psychopathically antisocial, but because he took ‘freedom’ to its noncommittal extreme, and was afraid to take (responsibility for) decisions.

Does this take away from his musical achievements? (OK, such as they are, but I happen to be a HUGE fan of the Grateful Dead, having close to 350 official releases on cd). Of course not, but it does influence the way you see him as a person. Yes, he is a great guitar player, and in many ways still underrated, because many people can copy a David Gilmour lick or a Jimi Hendrix solo (yes, after they did it first), but not many people can improvise the way Jerry does (i.e. compose ‘on the spot’ and create a new solo just about every time you play that particular song), and do this with a feel for the song (blues, bluegrass, jazz, (hard) rock, prog, or whatever). And a nice enough singer (who doesn’t always memorize his lyrics properly…) and a good to great songwriter he may be, but his status as 60’s icon and all round great chap seems rather overrated.

In fact, I think this weakness ties in with his unwillingness to be considered and treated as band leader. Musically, yes, definitely, and immerse yourself in his music. But in all other aspects he preferred to stay on the fence, in the background, and let others take responsibility or action. 

Verdict: read this book if you like the Grateful Dead, the (late) 60’s, West coast pop culture or the origin of the jam band scene, but do not read it if Jerry Garcia is your personal hero or guru and you want to keep it that way. 

GRATEFUL DEAD - Terrapin Station (1977)

Review by: Christian Sußner
Album assigned by: B.b. Fultz

The Grateful Dead formed in California in 1965 and generally file under the label psychedelic rock. Their album “Terrapin Station” was released in 1977 and consists of 6 songs, the final centerpiece “Terrapin Station Medley” being the longest.

I think the first song “Estimated Prophet” is a pleasant opener for the album. With its nicely grooving bass, the wah-guitars and the vocals by Bob Weir and Donna Godchaux it creates an optimistic, almost summer-like atmosphere.

The following couple of songs in my opinion can't keep up with the quality of the first track. “Dancing In The Streets” is meant to be a cheerful, well, song for dancing but it's just too simplistic and straightforward to catch my attention. “Passenger” and “Samson and Delilah” are standard folk-rock songs which kind of remind me of CCR without having their power. And “Sunrise” finally which is sung by by Donna Godchaux alone back then may have been a reminiscence to Flower Power but nowadays just sounds pretentious and boring.

But in the end these first five songs seem like a prelude to the final 16-minute-track “Terrapin Station Medley”. In the tracklist of the LP the song is broken down into subsections but I had problems to retrace the intersections while listening as the different parts are quite homogeneous and the transitions flowing. Not like, let's say, “Shine On You Crazy Diamond”. However, the song is BIG with a relaxed intro including some nicely picked guitar, some soothing solos and finally a long but not lengthy orchestral crescendo including some good co-singing by Donna again, various mood changes, more solos and finally a whole choir chanting the title of the album. I like it!

I too like the production of the whole album (I got the “mastered for iTunes version”, if that makes a difference) because it doesn't sound outdated, au contraire, powerful with an eye for detail. I can't say very much about the lyrics. The bits I understand while listening to the record without paying much attention to the words make me think that they're not worth the effort of listening closer.

As a conclusion I'd say that, although it's not an absolute classic, I enjoyed listening to the album. A good start and an excellent ending with some filler in between but I'll definitely give it another listen after submitting this review. Last question: Which substances does one have to take to get to Terrapin Station and watch these cute turtles from the cover dance?

Roland and Nina's DECADES IN MUSIC - 1970 - GRATEFUL DEAD - American Beauty

Review by: Nina A.
Album assigned by: Roland Bruynesteyn

The Grateful Dead sound excellent on this record, and I can definitely see why it gets such high ratings everywhere. In fact, were I an American dadrocker, listening to American Beauty would bring a proud tear to my eye. But I am not, and the most I can come up with is “wow, this sounds so real - it's really cute how it oozes american country sensibilities and roots rock earnest steadiness”.

Steady is the rhythm section here, of course, while the close harmonies throughout the record soothe your soul and the folksy guitar work really brings it home. In fact, the effect of the close harmony really stands out on the penultimate track “Attics Of My Life”, where there are a lot of chords held for long enough to achieve maximum effect by the vocals crew. There is a good variation of rhythms - even the blues makes an appearance on “Candyman”, and the bluesy shuffle closer “Truckin’” is one of the highlights on this album.

My initial impression of this album is that it really belongs in your car audio, at dusk, while you are eating mile after mile of the wide american prairie (my father likes to call every unpopulated stretch of land in the US “the prairie”), which stretches out to the horizon. But after some relistening and reconsideration, I'd say it is perfect for other even not that highly romanticised situations. Just be sure to have a quiet enough environment that will not overpower the delicate nuances on here, and you will too have a chance at some american beauty.

A YEAR IN MUSIC: GRATEFUL DEAD - Spring 1990: So Glad You Made It (1990)

A YEAR IN MUSIC: 1990
Review by: Roland Bruynesteyn

Not many people that actually heard of the Grateful Dead will be indifferent to them: you love them or you hate them. The 1990 tour is usually considered their last consistently great tour. In true Grateful Dead style all fourteen concerts have been released in two lavish boxes (numbered, with tickets, back stage passes, and other memorabilia) for the hardcore fans. While definitely in the ‘love them’ camp, I think this 2cd best of tour set is a nice overview for the uninitiated.

Although a 2 CD set cannot do justice to the tour, it does show their strengths and weaknesses. As strengths I would present:

• The breadth of their repertoire, including an enormous number of their own compositions and selected covers
• Phil Lesh is a great lead bass player. Like Paul McCartney in his prime he doesn’t always go for the most logical solution, and especially in the jam parts he’s often leading the band
• Their ensemble playing is amazing: you have to like jam music, but like the best Miles Davis groups, the band members listen to each other and create music on the spot. Best examples: Bird Song, Eyes of the World, Scarlet Begonias and Playing in the Band
• Jerry Garcia has a nice voice and is a great melodic guitar player: bluesy, jazzy, folky, he can handle it. His playing and singing in Loser for example turn a nice enough song into a version that is considered one of the best in their entire career.

Their weaknesses:

• Yes, they play a lot of covers and deadify them, but they usually do not actually improve on them: Gimme Some Lovin’ and It’s All Over Now, if not exactly painful, do not add anything much to Steve Winwood or the Stones. Morning Dew, almost a signature tune may be the exception here: they own it
• Although Jerry has a nice voice, vocals are on the whole not their strong point. Also, they tend to forget some of their lyrics
• Brent’s voice, while great as a harmony singer, is quite annoying to listen to. Here it’s most prominently featured in his own (rather bad) song Easy to Love You, and it makes for some frustrated listening.

On the whole, I would urge newbies to go for some 1969-1974 Grateful dead, but to strongly consider this set for some late career highlights.