If you follow this blog, or read my writing on Macworld, you’ve noticed that, among my varied musical interests, one artist stands out: the Grateful Dead. I’ve been a Deadhead for 35 years, since I first saw the band in the Spring of 1977 at the Palladium in New York. (To be honest, I was already a fan by then, having heard a number of their albums, both live and studio.) People sometimes ask me to recommend a Grateful Dead album for them to discover, and this post answers that question.
In late 1974, the Grateful Dead decided to “retire.” At the time, it wasn’t clear if the band would continue, but the increased pressure and cost of touring with their one-of-a-kind “Wall of Sound” sound system, made them realize that they couldn’t go on. They had to tour to pay for the cost of touring, and the time it took to set up and break down the Wall of Sound make touring more complicated.
So to celebrate their retirement, the Dead played five shows at San Francisco’s Winterland Ballroom. Introduced by Bill Graham, the legendary concert promoter, these last five concerts were held from October 16-20. On the 20th, Bill Graham had the concert tickets stamped “The Last One” as a souvenir for those attending.
But while the Dead suggested that this would be a retirement, they actually had big plans for the final run. Much of the music was filmed and all of it was recorded with the idea of making a movie. Jerry Garcia was the engine for this project, and during the hiatus – the band came back to performing in April 1976 (there were four gigs in 1975) – he worked on editing the movie.
Released in 1977, the Grateful Dead movie was an attempt to translate the experience of a Grateful Dead concert to the screen. Concert movies were a recent phenomenon at the time, and this was more than just a film of the concert. There is footage of people waiting in line, interviews with Deadheads, clips of people dancing and enjoying the music, and some pretty hokey animation, notably a long animated introduction. The movie fails as both a concert movie and as a documentary, but, back in the day, it was amazing to see such great footage of the band on a big screen.
For years, the tapes of these five shows languished in the Grateful Dead vault, until a re-release of the movie on DVD in 2004, when the best parts of the five concerts were remastered and released on five CDs, for a total of about 6 1/2 hours of music. (This is a bit more than 1/3 of all the music played on those five nights.) Each of the CDs tries to represent a set of music; the songs flow together well, even on the discs where the music is from different nights. Three of the discs are essentially all from single nights, with a couple of exceptions.
One reason why the Grateful Dead was so interesting is because no two concerts were the same. Not only did they not have set lists – they’d choose what to play as they went along – they were consummate improvisers, and would segue from one song to another seamlessly. There were some songs that were often played together, and that formed units: China Cat Sunflower > I Know You Rider, Scarlet Begonias > Fire on the Mountain, and Not Fade Away > Going Down the Road Feeling Bad. But in 1974, only the first (China > Rider) was immutably joined, and from one show to another, the order of songs would change. In addition to these fluid set lists, the Dead would often jam on songs for a very long time; the longest track in this set is the 31:45 Playing in the Band, which is a perfect example of the band’s transcendent improvisations.
1974 was a watershed year for the Dead. One of the founding members, Pigpen (Ron McKernan) had died in 1973, and the Dead dropped many of the songs that he made famous, such as the long R&B-inspired Turn On Your Love Light, In the Midnight Hour, and Dancing In the Streets. Pigpen was a male Janis Joplin (they were lovers for a time), and he lived the blues the way he sang them; so much so that liquor killed him.
After Pigpen’s death, the Dead took a new direction, veering away from the early R&B songs, and the later folky Americana, toward some jazzier playing. That comes out here in the long Eyes of the World, a 1973 release, the mystical Playing in the Band, and Bob Weir’s Weather Report Suite, a long ballad. The Dead still played their staples: songs like U.S. Blues, He’s Gone, and One More Saturday Night, but this set doesn’t feature any of the “cowboy” songs the band played consistently in the early 1970s, such as Jack Straw, Beat It On Down the Line, Loser, Friend of the Devil, El Paso, or the perennial Me and My Uncle. The band played these songs at the five concerts, but they weren’t selected for this box set.
So on five CDs, this set gives an excellent overview of the Dead in 1974. Free jams, tight songs, a jazzier sound than in, say, 1972, but with all the power and mastery that the band had developed since their formation in 1965. While the Complete Europe ’72 box set remains the ultimate document of the Dead on tour, these edited recordings are probably the best introduction for someone interested in discovering the wide range of music the Grateful Dead played. (If you want a sample of the Dead on tour in 1972, the recent Europe ’72 Vol. 2, culled from that complete set, and tastefully remastered, is for you.) Or better yet, get both.