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Colin Lazzaro-Smith <firstname.lastname@example.org> (10.07.2000)
Hey, I just read your section on the GD albums. I hate to tell this to you, but you really have no idea what you're talking about. The fact that you're even bothering to review the Dead's studio albums shows that you know nothing about the band [hey, that's not true! I know a lot about the band's studio sound, and I don't pretend to know anything about the live one - G. S.]. I'll be the first to say it: the Dead didn't make good studio albums. Yes, that's true. They did do great live stuff, and that is what the band is all about. Also take into account that the Dead were totally unique and it was just the fact that they used so much roots music and expanded on it that makes them so unique. To judge the Dead with any sense of knowing the band's music you MUSt hear them doing what they did well, playing live. 'Eyes of the World' isn't much to hear on Wake of the Flood. Live, it was often glorius. Also, that song was written to be open ended, so it doesn't translate well into the studio. You need to contact a Deadhead and ask him to copy a show for you. I suggest you look for 6/10/73 at RFK Stadium. It has many of the band's different styles. It has a long, jazzy 'Eyes of the World', their premier psychedelic number, 'Dark Star', and some pure rock and roll performed along with some members of the Allman Bros. Also check out their live CD, Live/Dead. That is what got me into the Dead.
They were a live act, pure and simple, and their attempts to translate that feel/sound/magic alchemy of their conerts into a good studio album were all - all - unsuccessful. They were never studio manipulators like Pink Floyd or the Beatles. They tried, but they didn't have the work ethic, mix of personalities, or coherent vision. Instead, they were musicians who loved to perform live, and who would work all night long to reach those elusive magic moments when everyone in the damn building (arena, ampitheater, stadium) was g etting off on a shared experience. Music is powerful stuff, and thousands and thousands of people coming together in celebration of those moments of mutual joy....well, it beat the hell out of any recorded studio album designed to be digested in the solitary safety of one's home.
J. Scott Markowitz <Jeremy@Markowitz.com> (06.12.2000)
Just so you know, I'm not really a "deadhead," per se. I wasn't born on a commune, I haven't seen every single one of their concerts since 1980-- hell I haven't even seen one of these concerts. I have to say, though, that the studio efforts (excluding gems like American Beauty, Workingman's Dead (to some degree), and Terrapin Station) really AREN'T the Grateful Dead. They aren't, and haven't ever, been a dazzling studio band (like Yes (or more specifically, the album Fragile by Yes), for instance). The live stuff, as I'm sure hundreds of deadheads have told you, is where the true essence of this band lies. I've spent most of my life hating jams (I always though they were unbelievably pretentious and boring, unless I was doing them), but the Dead's jams really WORK. If you doubt this at all, listen to one of the myriad Dick's Picks recordings of Terrapin Station. The things they can do with this already incredible song are simply amazing. My personal recommendation is Dicks Picks 10, by the way. 'Casey Jones', 'Friend of the Devil', 'Uncle Johns Band', et. al. are their great studio songs. 'Terrapin' is a great studio song, but it takes on a whole new dimension in concert. They take out the mediocre, out of place "At a Sliding" movement, and replace it with spiralling jams betweeen "Lady with a Fan" and "Terrapin Station." THIS song, live, personifies the Dead.
I see that you haven't reviewed the album live/dead....If you don't have it, get it. This is the best the dead ever got IMO. 'Dark Star' is an amazing jam, probably THE hippie -san fran-20 min. plus live jam of all time. Much better than QMS's happy trails album and I like that album. After they groove into space on 'dark star', they get goin' to show you that they CAN get into a nice R&B groove...'Turn on your love light' is awesome!!! (even though pigpen goes on too long in the middle) and 'Feedback' is one super freaky bit of dark music that works great for playin' hide and go seek in dark buildings. I played this and 'dark star' along w/ pink floyd's a saucerful of secrets album at a work party a couple of months ago and scared the shit out of everyone. I'm not really a fan of the dead, but you just can't deny that this ain't one of the greatest 60's live albums.[NOTE: all of these comments came in before I had an actual chance to review Live/Dead, which explains all the contradictions.]
Katie Morgan <email@example.com> (19.05.2001)
I feel sorry for you. Until you've felt the incredible emotion of an entire stadium of Dead Heads shakin' it to Sugaree, you'll never truly understand the band, their music, or their following. It is, by far, the most intense feeling of love and brotherhood that I have ever experienced. That feeling is what makes the Grateful Dead. That feeling is what it's all about.I don't condemn you for you opinion, but before making such a profound opinion, you should really come to know your subject better.
Pretty hard on the ole Grateful Dead aren't you?We'll, your absolutely right, the albums suck. But when reviewing the Dead one has to take a different perspective. Yes they are a "live" band and yes there is some communal feeling that happens between their fans , yadda yadda yadda. But that ain't it either. After all, Hitler had a pretty good rapport with audiences. Nope, the signposts for gauging the Grateful Dead are not laid out along the Highway to Hell so much as along Highway 61, or along Woody Guthrie's "ribbon of highway." Live blues, live bluegrass, folk, jazz - in short, live American folk music - this is where the Dead should be placed. Yes, their ultimate form is more rock than anything but their approach is somewhere else entirely. The Dead improvised much more than any other rock band. Improvisation is the antithesis of well planned and executed production recording. So, one shouldn't compare the Dead to the Beatles. Comparison to Bob Dylan is more like it (you know "ya got ten minutes and one take kid"). Admittedly, the Dead's albums fail miserably there as well. There great failure is that they couldn't communicate on record. In fact, you're rating of 2 is generous in my view. But live! When on, this band exuded more true musical talent than any other rock band ever. That's "musical talent" in the instinctive, feel, God-given way rather than the sheer athletic-like prowess so often mistaken for genius in rock bands. Keyboard, rhythm guitar, base and drums all semi-soloing behind, inside, around and sometimes over Jerry's lead. Like jazz, the song or head was a support only. Plenty of great jazz performances have been structured on less then memorable melodies. So, like in jazz, the Dead's art went beyond the song. Their good jams (and there were bad ones, but when reaching for such an elusive goal, there has to be) were like Mozart or great jazz. Few people these days go on about Coltrane "jerking-off" on stage. Coltrane was Jerry's hero. Consequently, the Dead's jams were earthy, emotional and real like Trane, not pretentious, fake and antiseptic like that God-awful jazz fusion. It was supreme communication, an astounding attention to melody, yet, and this is crucial, they had to, and did, retain enough uncertainty, edge, and imprecision to allow it all to wallow around in the gutter where rock and roll is supposed to live. The band is (was) a five on any music scale.
Clinton Delp <Cdelp111@cs.com> (17.02.2002)
I often felt like you do about the Dead the first couple of years I heard them. Then I finally heard something in the music. It could have been the sweetness of a particularly well placed note, or the satin smoothness of a transition, or the high lonesome country vocals that would occasionally ring out. I would recommend a concentrated listen to Reckoning, and skip the first track if you like. The way the Dead could get so jazzy in a genuine country bluegrass style album is remarkable to me. Especially "China Doll," "It Must Have Been The Roses," and the spectacular "Bird Song." And as for lyrical strength, Robert Hunter was responsible for some of the most beautifully simple songs of any era. The Dead were a live band that when they were on were as good as any that have ever played. I feel Reckoning fully illustrates this.
Glenn Wiener <firstname.lastname@example.org> (16.03.2002)
Good musicians indeed in a trippy kind of way. Especially that Jerry Garcia guy. His solos are indeed very mesmerizing without relying on excessive volume. Some of their songs lack structure and drag on a bit too long. But overall, the Grateful Dead have come up with oodles of interesting material that borders on blues, rock, folk, and even some jazz man. Heck even that Terrapin Station suite of songs has symphonic moments. And heck, the Grateful Dead were responsible for keeping the hippie moment going for oh so many years. A very influential foce in music indeed.
Michael Egan <email@example.com> (07.06.2002)
As I'm sure you're tired of hearing now, the Dead can't really be judged by their studio albums, or even the live albums they released before the 90s. Even as a live band they had their ups and downs - "Me and My Uncle" was alright on their 1970 live album, but after one's heard 10 versions of it, one can wonder what the point is, as they're all pretty much the same. A lot of the tunes on the albums you've reviewed, "Uncle John's Band", "Playing in the Band", "The Other One", "Eyes of the World", "Estimated Prophet", "Truckin'", and especially "Dark Star", were often played differently from night to night, and certainly from year to year. These versions could go anywhere from 7 to 20 minutes and often led into another song, a drum solo or a space section. Sometimes it was played with the same kind of brilliance you heard on Live/Dead, often it wasn't. You just never knew with these guys what they were going to play and how they were going to play it, although they got more predictable as time went on.I know you don't like reviews of CDs you haven't gotten yet, but the Dead's discography is getting so overwhelming, I think you could use a little advice - Dick's Picks 4 has the definite version of 'Dark Star', as some Deadheads will tell you. It also has a romp through "Not Fade Away" that is almost Who like in its intensity. On the negative side, you probably won't care for the 10 plus minute drum solo in the middle of "The Other One" (it's dull), and if you didn't like 15 minutes of 'Turn on Your Lovelight', you won't like 30. Still, overall, I think it's their best one. Europe '72 is also a great live album with a lot of material that hadn't been released yet, in the same vein as Workingman's Dead or American Beauty, and it just rocks. No drum solos, either. Steal Your Face is a live album released in 76 and should be avoided. Even Deadheads don't like that one - every one of the songs has been done better on a later live release, and the mastering is atrocious - on my vinyl copy, the vocals sound like they're being sung into ripped microphones or kazoos. This should be the last Dead album you get. Not even the most fanatical Deadhead will blame you for avoiding it.
Ralf Schnorrer <firstname.lastname@example.org> (02.08.2002)
Man, you're not alone. Forget the predictable deadhead comments. They're still a great band for me, but NOT for their live records. It pisses me off to stand one goof after another, to be topped by their helpless approach on "harmony" singing. Anyone who got ears and is half way sober should respect that e.g. The Little feat, Spirit, Allman Bros. or whatever did their job a whole lot better.LBNL: Thanks for your reviews.How long does it take just to read'em all?
Steve Potocin <email@example.com> (05.12.2002)
HMMM, let me see, should I listen to The Grateful Dead or Lou Reeds Metal Machine Music, OH NO! get out the raincoats, either way it's gonna be a shower of SHIT!
Richard Nightingale <firstname.lastname@example.org> (21.03.2002)
My ratings for The Grateful Dead's studio albums.THE GRATEFUL DEAD (1967) OVERALL RATING 10 NOT A BAD ALBUM AND VERY UPTEMPO FOR THE DEAD. A LOT OF COVER VERSIONS BUT DON'T LET THAT PUT YOU OFF. ANTHEM OF THE SUN OVERALL RATING 8 A BIT HEAVY GOING THIS AND IT'S BADLY PRODUCED.OK IT'S EXPERIMENTAL BUT THAT DOESN'T MEAN IT'S A GOOD ALBUM. AOXOMOXOA OVERALL RATING 8 THERE'S SOME RIGHT CRAP ON THIS.BUT ST STEPHEN AND CHINA CAT SUNFLOWER ARE GOOD. WORKING MAN'S DEAD OVERALL RATING 13 EH? SUDDENLY THE DEAD ARE WRITING CONCISE AND BEAUTIFUL TUNES.AND TALKING OF BEAUTIFUL..............: AMERICAN BEAUTY OVERALL RATING 15 ONE OF THE BEST ALBUMS EVER MADE.BOX OF RAIN, RIPPLE, BROKEDOWN PALACE AND SUGAR MAGNOLIA ARE THE BEST SONGS THIS BAND EVER WROTE. WAKE OF THE FLOOD OVERALL RATING 8 WHAT HAPPENED!!!!! BORING, BORING, BORING!!!!!!!! FROM THE MARS HOTEL OVERALL RATING:10 THIS IS A BIT BETTER.CHINA DOLL AND UNBROKEN CHAIN ARE GREAT.NOT TO SURE ABOUT THE OTHER STUFF THOUGH. BLUES FOR ALLAH OVERALL RATING 8 ONLY THE MUSIC NEVER STOPPED GETS GOING HERE.THE OTHER STUFF SOUNDS LIKE STEELY DAN (YUCK!) TERRAPIN STATION OVERALL RATING 9 THE A SIDE SOUNDS LIKE FLEETWOOD MAC ON A BAD DAY.THE B SIDE CONTAINING THE TERRAPIN STATION SUITE SAVES IT THOUGH. SHAKEDOWN STREET OVERALL RATING 6 ONE OF THE WORST ALBUMS EVER MADE BY A MAJOR ROCK GROUP.WHAT WERE THEY PLAYING AT?????? GO TO HEAVEN OVERALL RATING 9 NOT AS BAD AS ALL THE DEAD HEADS MAKE OUT.ALABAMA GETAWAY AND ALTHEA ARE TWO VERY GOOD HUNTER/GARCIA SONGS. IN THE DARK OVERALL RATING 13 A SERIOUS RETURN TO FORM.TOUCH OF GREY AND BLACK MUDDY RIVER ARE JUST AS GOOD AS THE SONGS THEY DID IN THE EARLY SEVENTIES. BUILT TO LAST OVERALL RATING 7 HMMMM......WHEN EVER THE DEAD DO A GREAT STUDIO ALBUM THEY FOLLOW IT WITH A CRAP ONE.AVOID LIKE THE PLAGUE.
Jason Motell <JMOTELL@stny.rr.com> (04.05.2003)
In one of your reviews of the Dead you claimed no one listened to the Grateful Dead for the lyrics.well I just want to clarify that I think Robert Hunter is the most underrated American lyric writer. He excels at turning a clichéd phrase around on its head and making that familiar thought seem extraordinary. He is simple without being childish and poetic without being artsy. More importantly, he is a storyteller. Most of his best work captures your attention by placing you in the eyes of a card player or letting you see the daily grind of an American coal miner or hobo. Like Bob Dylan, he was able to link rock and roll with a folk past-searching through old traditional songs to find forgotten characters of American folklore. Characters like Casey Jones (a real engineer on the Illinois Central Line at the turn of the century known for his unique whistle blowing style), Stagger Lee (a man during the Civil War who killed Billy Lyons for stealing his hat), and Black Peter (who in the Netherlands, supposedly accompanied Santa Claus on his travels, but beat the naughty children). Virtually every protagonist (and even some of the minor characters) in each of Hunter's songs forms a link to the country and western, Appalachian mountain songs of Old America.A majority of his songs (most notably on Workingman's Dead and American Beauty) deal with a drifter on the road, searching for something: love, money, revenge, a new beginning. And while they are story songs, dealing with specific characters (Jack Straw, Uncle John, Row Jimmy.) each of the characters could be substituted with America itself. For example: "Casey Jones, you'd better watch your speed. Trouble ahead, trouble behind, and you know that notion just crossed my mind." Yes this song is about Casey Jones and his travels, but it also deals with where America was heading in the troubled time of the 60s. Or in "New Speedway Boogie:" "I don't know, but I've been told, if the horse don't pull you got to carry the load. I don't know whose back's that strong, maybe find out before too long." This could represent an average American farmer and his everyday hassles, but it could also be saying that it's time for a revolution. Because their lyrics can be taken either way, the Dead are one of the only bands that appealed to both the hippies and the rednecks during the early 70s. No I’m not a Deadhead, in fact I have virtually the same opinion of the Dead that you have (I like some of their stuff a great deal, but am bored to tears by most of it). I just think that respect should be given to any writer who can bring back a spirit of traditional style and spin it around to fit the changing needs of the time. I admire Robert Hunter and respect his underrated writing ability.
John Herraghty <email@example.com> (17.10.2003)
I’m a British guy who has loved the dead for over 30 years. At first it was hard to see what the deal was about because the band is so typically American and so mediocre. They have a beautiful laissez faire attitude, and a willingness to let the music take ‘em where it might. I grew up listening to virtuoso Prog rock and early floyd psychedalia. And yes musically, your review of the dead is right on. But the Dead are so organic!. I had neighbors who both had PhD’s in chemistry and had taken research positions. They were very eccentric, but only to others. Their front and back yards, at first glance were completely overgrown (no exaggeration), with weeds. Everything was unkempt. However, they could give tours of their wilderness explaining the interaction of the flowers, the areas reserved for herbs, and so on. To them, their Garden obeyed the orderly laws of chaos theory. So too, does music from the Dead. Lay back, tune in, take a break, and search for the magic moments of order in the gentle chaos of Dead music. Mediocre music yes, and organic, soulful, friendly, and comforting too. Only two musicians have ever brought tears to my eyes, Neil Young and the Grateful Dead. I challenge anyone with a soul to listen to ‘black muddy river’ or ‘Ripple’ or ‘Eyes of the world’ from ‘without a net’ and feel nothing. Mediocre yes, but they are my best friends…how do they do that? That’s you listen to the dead, and their CD’s and Vinyl will never leave your collection.
Stepping Razor Doe <firstname.lastname@example.org> (09.07.2005)
The Grateful Dead were simply the best live rock and roll band ever. No other band could reach cosmic moments like the GD. Were they musical virtuosos? Were they the best songwriters? Were they the best singers? The answer is no. But nobody else brought "it" like the Dead. "It" being a complete recklessness and choas that could sometimes lead to something truly beautiful and amazing. There are so many shows that are legendary, that show what can happen when "the music plays the band." 5/8/77, 6/10/73, 7/7/78, 9/2/78, 11/1/79, 9/11/82, 9/6/83, 6/27/84, 6/28/85 etc... With the Dead its all about the second set segues. This is the meat of the show. If you really want to give the Dead a chance this is what you have to listen to: Dicks Picks 5 Disc 2: Uncle Johns Band>Estimated Prophet>Jam>He's Gone>The Other One. If you listen to this and dont think the Dead were awesome then you honestly gave them a chance and didnt like them. Nobody has ever done 'Morning Dew' better than the Grateful Dead and Jerry Garcia. There are so many versions: 5/8/77, 6/18/83, 7/22/84, 6/28/85. Pure Emotion. To say that Jerry Garcia was above competent is greatly underestimating his talents. Listen to the Scarlet>Fire from 9/2/78 Giants Stadium or the NFA from 5/8/77, or the Slipknot! from 9/6/83. Garcia rarely gets repetitive always has some idea brewing and is always willing to take risks. The Grateful Dead could mentally transport you at any time during one of their shows, were completely fun and reckless, and had no game plan. Thats why us Deadheads love them.
Goran Janicijevic <email@example.com> (20.08.2005)
I, as any normal (continental) European, don't understand three things about America, no matter how much the world is americanized (or globalized). That is, the adoration of 1. american football, 2. baseball and 3. Grateful Dead.
Glenn Wiener <GJW0721@aol.com> (16.06.2003)
Definitely one of the Dead's stronger studio recordings. This one has some energy and it is not exclusively all extended jams. Many good two and a half minute pleasing psychedelic numbers such as 'The Golden Road', 'Beat It All Down The Line', and 'New, New Minglewood Blues'. 'Cream Puff War' features some compelling guitar licks and 'Good Morning Little Schoolgirl' features an awesome Pig Pen vocal. Some good new bonus tracks some of which features more fine Pig Pen vocals. This one is almost comparable to American Beauty.
Basically this is the Grateful Dead as garage band, and a lot of these tunes would fit in well on Nuggets. To be sure the playing by Garcia would stand out as a lot better than most of the Nuggets bands, but generally the garage formula is there. Take a bunch of guys who can play, include that (at the time) staple of a Farfisa organ, and as to singing, well anyone can sing, right? If I exclude Garcia's guitar this sounds like almost dozens of bands I heard in Michigan alone during my junior high days.And like you, George, I like it. It's actually better than several of the Dead records that followed, mainly because of the energy. I thnk at the time the Dead themselves thought the record sounded too sped-up, which is too bad because in the LPs that followed, too often lethargy was their downfall. That being said, Garcia's guitar was really the ticket...I especially like "The Golden Road (To Unlimited Devotion)" where he really takes hold of the tune with the solo. I wonder what the heck they're singing about and what it has to do with the title? "Morning Dew" was one of the slow tunes but the guitar rings out and picks things up greatly.
Fredrik Tydal <firstname.lastname@example.org> (04.10.2000)
Anthem is not a masterpiece, but it's at least interesting. And slightly better than Aoxomoxoa, in my opinion. Though I feel that Baxter's is superior to both of them, in terms of actual *songs*. Strangely enough, though, I've always felt that the Dead's self-titled 1967 debut album is better than both Anthem and Aoxomoxoa. But overall, before 1970, the Dead was best live...
Ryan Maffei <email@example.com> (29.03.2002)
Right-o...Anthem of the Sun cannot be described better by any other phrase except "fucking annoying". Hell, I can't even stand "Alligator", it not being a great song and the jam being as diffuse and unlistenable as anything else on here. "Caution"....most of "That's It"..."New Potato Caboose"...the only things I can actually tolerate on this lame, misguided release are "Born Cross-Eyed" and the theme part of "That's It", before it twists into this thrillingly abysmal jam collage thing. The debut was fine; it was solid, and full of nice, catchy cover tunes. Funny, though, that when the Dead try to be original for the first time, they fail miserably...I'd give Anthem a 5. It's a terrible disappointment to me. And terribly produced, too. Jesus...
Ralph Ellis <firstname.lastname@example.org> (07.06.2002)
I bought Anthem when it came out, and to this day it ranks as one of my favorite Dead releases. No, I'm not into the drug culture, and I liked the album before I ever saw the Dead live. Anthem works especially well when I have to drive long distances--although it pays to have cruise control when listening to it. ;-) The comparison with Baxter's is apt, as would be a comparison with Quicksilver's Happy Trails. Still, and all, Anthem would have to be my favorite of the era. Obliviously, different strokes for different folks, . . .
Fredrik Tydal <email@example.com> (02.08.2000)
I couldn't agree more here. I hope no one picks this one up as their first trip into the Dead's world, or they might be turned off on the group forever. Parts of this album is just offensive, like "What Becomes Of The Baby?". Ouch. Give me "Revolution #9", "A Small Package Of Value Will Come To You, Shortly" or "Horse Latitudes" any day of the week... By the next album, the Dead thankfully learned to pile up a good stack of material before going into the studio. Most of these songs, like "St. Stephen" and "China Cat Sunflower", would be performed better and more imaginative in concert. The contemporary studio efforts from their San Franciscan pals, like Volunteers and Happy Trails, are notably better than this uninspired and disappointing album. Oh, and you don't need to worry, their live output at this time was significantly better, as best experienced in Live/Dead, recorded the same year.
Doug and Betsy Wheeler <firstname.lastname@example.org> (07.10.2000)
I think you are totally off on Aoxomona. I Think its one fo there bestefferts at trying to create the live feel (with the exception of Live Dead of course) this represents thir most inavative times and should be given more respect. [No offense, but is this peculiar orthography some sort of side effect from listening to Aoxomoxoa too much? - G.S.]
Glenn Wiener <email@example.com> (16.03.2002)
Just so you know, ALL of the songs on this recoring are sung by Jerry Garcia. Whereas Jerry is in pretty good voice, I prefer hearing the voices of Pig Pen and Bob Weir as well. I guess its a matter of balance.Regarding the songs, many of them seem to lack staying power. A few interesting progressions, yes, but several of them just go on and on and become tiresome after a while. Yes the guitar solos of Jerry Garcia are very good and the keyboard sounds add a nice change of pace. However, outside of 'Dupree's Diamond Blues' and possibly 'Mountains Of The Moon', these melodies are only mildly captivating. And that eight and half minute torture fest, 'What's Become of the Baby', should have ended up on the cutting room floor. What atonal irritating garbage. Jerry must have been stoned out of his mind to record that track of whack. None the less, this is a middle of the road release by the Grateful Dead.
Jakob Hellberg <firstname.lastname@example.org> (29.08.2002)
Just so you know, the available version of Aoxomoxoa is a remix made in 71. The original version is MUCH better, with "What become of the baby" being REALLY hypnotic as opposed to unlistenable /(the remix leaves out all the music and effects). Aoxomoxoa was the first album ever made on a 16 track recorder so the Dead threw in billions of little sounds and extra instrumentation. When they changed their sound around 1970 they probably considered it gimmicky and removed several instruments and sections on the album. Thus, it sounds flat and boring instead of dated but mind-expanding. I give the original version an 8 or even a 9 and I don't even use drugs. Unfortunately they remixed the masters so the original mix is gone forever. Try find it in a used record shop.
Mike DeFabio <email@example.com> (21.12.2000)
I don't have this, but I do have Two From The Vault and it's got pretty much the same stuff and MORE! I know, I know, it's not the exact same show, but I'm no Deadhead, so I really don't care too much about the differences. It's really good! Everybody's gotta hear "Dark Star" once in their life. Why'd they even bother doing a studio version? You can't do a studio version of that song! And it was, like, 3 minutes long! What's the purpose of that? The song doesn't even start until about 20 minutes in! I also happen to like "Turn On Your Lovelight." I just love that bassline, and the more they repeat it, the happier I am. "St. Stephen" is pretty great too. The other ones? Oh yeah, my album has "That's It For The Other One" on it, and it's okay. The rest of the stuff I don't remember too good, 'cause it's got so much jamming, but I remember liking most of it a lot.So, why'd I even write this?
Andy Lechnowitsch <Lechno@t-online.de> (02.06.2001)
hi !i'm a real deadhead, and i must say, the live album is a magic world of space fantasies. this is not rock, this is great music. many influences meets here. but unfortunately the next two albums was country. friends, sit down open your ears make the music loud and dream the grateful dead dream.
Roger Stomperud <firstname.lastname@example.org> (29.04.2003)
You say 'Dark Star' is played in a minor key. You're an ignorant bozo. It's in A MAJOR. Find another hobby please.
Alexey Provolotsky <email@example.com> (01.09.2005)
This is what I call long, draggy, sleepy, dark, monotonous and GREAT. This album will put you in some kind of a suicidal mood, but will also make you enjoy that sort of mood. The atmosphere is very dismal and charming. To appreciate this album, you should seriously give it at least five listens. In the end, it will pay off as a wonderful background for reading, writing or, whatever. Sometimes, though, it’s just nice to play this record and get lost in it. Live/Dead really is like that. The playing is very professional and well-thought. “Dark Star” is incredibly intriguing and works during all its 24 minutes. Ever noticed how they make the music harder and louder for a second (at about the 18th minute)? It’s so short, but so it should be. The intrigue is saved. I love “St. Stephen”, which is a very lovely folksy tune sung very happily and brightly. Catchy. But we shouldn’t forget about the engaging riff of “Turn On Your Lovelight” and the fantastic celebration of suicide (talkin’ about the mood, of course) called “Death Don’t Have No Mercy”. Both are very effective in their own ways. “Feedback” is a terrible letdown, of course, but not totally worthless. They tried to reach some weird beauty on it, didn’t they? Anyway, they close the record on a gorgeous and optimistic note.I would strongly suggest getting this album. Even if you hate live jams. Besides, listening to a live album by Grateful Dead is what everyone should do. It is a truly unique experience.
Fredrik Tydal <firstname.lastname@example.org> (10.10.2000)
Yep, their best studio album up to that point, but a bit inferior to American Beauty. However, it is when of the best places to experience the Dead's quirky personalities; I mean, just when you think it's a harmless country record - here comes "Dire Wolf" and the high on cocaine song. Laidback, sly, slightly stoned country rock with an edge - that's what this one is about. For me, the best song on here is probably "Uncle John's Band". Yes, you have to give that one some more time and let in sink in. See it as the Dead's equivalent to CSN's "Suite: Judy Blue Eyes" - a semi-acoustic, soulful number with perhaps some of the best lyrics on the record. And I particulary like that descending guitar line towards the end. Give it a few more listens. "Black Peter" is far superior to "Attics Of My Life", it moves along smoothly and has some nice organ embellishments. And "Casey Jones"; yeah, best melody on the whole album - really hard to get it out of your head. Quite impressive by the Dead to actually get the word "cocaine" into a song, what is it, seven times? This one and the following are the corner stones of the Dead's studio output. Good title, too - seems like the Dead had a knack for coming up with clever ones; Aoxomoxoa, Live/Dead, American Beauty...
Glenn Wiener <Glenn.Wiener@Entex.com> (10.10.2000)
This is as pretty accurate review. All the tunes are pretty much in the same style. And seven out of the eight feature a Jerry Garcia lead vocal. The boys just did not think much of varying the style too much on this recording. None the less its pretty good overall. 'High Time' is the low point of this batch. However, I kind of like 'Black Peter' as Jerry gives it this tune I nice bluesy feel both vocally and guitar wise. Truthfully 'Cumberland Blues' is my favorite tune on this set as the song structure, vocal harmonies, and the spunky sounds from the guitars really make it stand out from the others.
Richard Charles <charles.dejazzd.com> (10.02.2001)
I think Workingman's Dead and American Beauty are the two best studio recorded albums of the Dead. It's very close but I give a very slight nod the Workingman's Dead because I like all the songs a lot. There a a couple on A.B. that I think are not quite up to the Dead's best. But I won't argue with anyone who thinks they should rank the other way. They are both timeless classics. I'll agree that 'Dire Wolf' is a great song but I like 'Cumberland Blues' the best on this album.
Alexey Provolotsky <email@example.com> (01.09.2005)
This is very nice. Both different and better (though I admit I kinda like Aoxomoxoa) than their previous studio efforts. The music is a bit lazy and slow, but quite amusing. There are some obvious losers here (like the bleak “Black Peter” and “Easy Wind”), but I’m very fond of the classy opener, “Uncle John’s Band”, which is very jolly and catchy. Then we have “Dire Wolf”. It’s amazing! Beautiful, emotional (Garcia’s voice is always a treat), memorable (try to get that refrain out of your head). And the happy “John Casey” is very charming, of course. Both “New Speedway Boogie” (cherish this song, it’s a rocker) and “Cumberland Castle” have their moments, but are, in fact, quite far from those three.So, what can be said in the end? A nice, humble-sounding country album. Therefore, gets a nice 11 from me.
Glenn Wiener <Glenn.Wiener@Entex.com> (31.08.99)
An excellent studio record as most of the songs are top notch. I agree with you that the main stinker is 'Attics Of My Life'. The vocals do drift a bit too much out of tune on that number. Another drawback is that Jerry gets too many lead vocal opportunities. I guess Pig Pen was on his way out of the band at that point as he was the best vocalist the Dead ever had. I prefer Bobby Weir to Jerry's vocal style as he tries to put more spirit into his delivery. However there is no denying that 'Box Of Rain', 'Friend Of The Devil', 'Operator', 'Sugar Magnolia', 'Ripple', and 'Trucking' are all great songs. Twelve is about the right grade.
Mike DeFabio <firstname.lastname@example.org> (06.11.99)
Pretty darn good, I'd say. I never been a HUGE Dead fan but, sure, I'd give this a 12. I hear plenty of hooks and catchy melodies all over this record. Except for "Attics Of My Life," which I don't like either. It's one of those songs where you realize just how long five minutes can be, whereas the following song, "Truckin'," reminds you just how SHORT five minutes can be. Man, that's a great song. "Box of Rain" is great too. Heck, most of the stuff on here is pretty great. 'Cept, you know, that attic song.
Fredrik Tydal <email@example.com> (10.02.2000)
Whenever someone is prejudical about the Dead, i.e. rejects them as stupid hippie crap with absurdly long jams, I just play them this album. Puts them down to earth and sets everything straight at once. I've actually heard people mumble under their breath after they've heard this album, "I had no idea Grateful Dead played country and roots rock". Of course, this album is only one side of the Dead's coin but it sure is good for settling prejudices normally associated with the group. Real good album, too; it's warm, soothing and welcoming. "Box Of Rain", "Friend Of The Devil" and "Truckin'" are the absolute high-lights while, you guessed it, "Attics Of My Life" is the one real stinker.
Doug and Betsy Wheeler <firstname.lastname@example.org> (07.10.2000)
I think this is there worst album other than Terrapin Station. No long jams or crazy inovative stuff the dead is known. Its is to main stream for me, you can even hum it. Although many of these songs are great in concert. I give it an 8.
Richard Nightingale <email@example.com> (11.12.2002)
AM I THE ONLY PERSON IN THE WORLD (OKAY, MAYBE ENGLAND) THAT THINKS THIS IS THE BEST ALBUM EVER MADE??AND BEFORE YOU START CALLING ME A FOOLISH DEAD HEAD MY FAVOURITE RECORDING ARTIST OF ALL TIME IS BOB DYLAN!!!. CONFUSED? YOU WILL BE: I BOUGHT THIS ALBUM IN 1997 AT THE HEIGHT OF MY COUNTRY- ROCK PHASE (DON'T WORRY I'M NOT GOING TO LAUNCH INTO MY AUTOBIOGRAPHY, JUST PROVIDING A LITTLE BACKGROUND) THINKING NO ALBUM COULD TOP JOHN WESLEY HARDING, MY FAVE DYLAN ALBUM WELL I WAS WRONG. I'M SLIGHTLY BAFFLED GEORGE HOW CAN YOU LOVE JOHN WESLEY HARDING SO MUCH BUT DISMISS THIS. BOTH ALBUMS ARE SHOT FROM THE SAME BARREL GROUNDED IN TRADITIONAL FOLK AND COUNTRY MUSIC.IF DYLAN HAD WRITTEN 'BROKEDOWN PALACE' YOU WOULD NO DOUBT BE DRIBBLING FROM BOTH SIDES OF YOUR MOUTH!!!!. MY ADVISE IS TO IGNORE ALL THOUGHTS OF WHAT THE GRATEFUL DEAD REPRESENTED AND LISTEN TO THIS ALBUM FOR WHAT IT IS.I AGREE WITH YOU THAT THE DEAD'S 6O'S ALBUMS ARE CRAP. BUT TO IGNORE THIS WOULD BE A TRAVESTY. P.S. HAVE YOU NOT GOT IN THE DARK YET? ONE OF THE BEST ALBUMS OF THE EIGHTIES BY A SIXTIES ROCK BAND AND TEN TIMES BETTER THAN BUILT TO LAST (NOW THAT IS A CRAP ALBUM!!!!!!!!!!!!!!!!)
Alexey Provolotsky <firstname.lastname@example.org> (01.09.2005)
More of the same, but better. Much better, to tell the truth. The songs are just more solid. It’s perfect country rock with next to no filler (okay, I think that the gentle “Candyman” is overlong and “Operator” is unnecessary, although amusing). Really, all top-notch material here. It would be hard to define my favourite, but I guess it is “Ripple”, which sounds absolutely Heaven-like. At the end, I’ll say that I enjoy “Attics Of My Life” (gorgeous singing) a bit more than the rockin’ “Truckin’”. But that’s just me.A solid 13 overall.
Fredrik Tydal <email@example.com> (08.02.2001)
Isn't it funny how often the Dead surprise you and gently smash your preconceptions about the band? I mean, seriously, you can't help but being slightly baffled by American Beauty. Acid rock? No, sir. And I feel that neither Live/Dead really lives up to that acid-space-hippie jam thing - or whatever it is people normally associate with the Dead. The same with their debut, which ought to mildly surprise even you. Psychedelic? Not really. And this album? Well, people expecting another "Live/Dead" should look elsewhere... By this time the Dead had basically left the "Dark Star/Stephen/Eleven/Lovelight" marathons behind them - even if individual numbers would be revisited later, the whole trip would only be experienced on future archive releases. The Dead simply moved on. As correct as your overall impression of the album is, the next double live album from the Dead would actually *completely* be in the style of Workingman's Dead and American Beauty - the excellent Europe '72. About this album, I disagree somewhat on the covers. Ok, so "Johnny B. Goode" is disposable - a strange selection to me. But the thing about the Dead and covers are, how should I put it, the small touches they add. Small, subtle touches that you don't necessarily detect. Take Pigpen's sly reading of "Big Boss Man", for example - isn't it funny how he changes the lyric to "sure get *stoned* at night"? Maybe it's just me, but I find it inventive. I find it odd that you should comment on "whinin' Garcia vocals", after just mentioning three songs with Weir lead vocals. Oh, well - I like their restrained take on "Me And Bobby McGee". However, you don't at all mention two of the best covers - the energetic "Big Railroad Blues" and Weir's concert staple "Me And My Uncle". And "Goin' Down The Road Feeling Bad" is grand it all its simplicty... I agree with your rating of seven, though - rather generous, I think. Good, but certainly not great.
Glenn Wiener <firstname.lastname@example.org> (17.06.2001)
Yes the band mines the cover tunes but I certainly like their take on some of these chestnuts. 'Johnny B Goode' sounds quite fine here. There is some power although its not earth shattering. The rhythm stylings on 'Not Fade Away' and 'Bobbie McGee' are mesmerizing. And 'Bertha' is one spirited song. Perfect this record is not especially with the lack of a crowd response. I guess everybody was too stoned to even care. None the less an eleven rating sounds about right.
Glenn Wiener <GJW0721@aol.com> (02.07.2002)
Just so you know You Win Again is sung by Jerry Garcia. Don't know how you thought it could have been the other two guys. Pig Pen sings 'Mr. Charlie' and 'It Hurts Me Too'.Anyone from what I remember about the record, it was pretty good but the jams were a bit excessive. Keith Godchaux's piano playing is badly underatted.
Mike Flynn <email@example.com> (13.09.2002)
First of all I'm biased on this one. This record singe-handedly turned me into a dead fan. By the way they have just release a 4 disc set of materially exclusively from the English portion of this tour titled, Steppin Out in Europe or something. I also have other Europe shows from this tour in my collection that are superb. The song that grabbed me, that took me in if you will was Jack Straw. I love the lyrics, love the music, love the vocals. Bob Weir & Robert Hunter wrote that song together & it remains one of those few times ('Sugar Mag' being another) when the two of them collaborated. Wish they would have done it more. Weir hinted later that it was influenced by John Steinbeck. It really doesn't matter. Where else are you going to hear, "Jack Straw from Wichita cut his buddy down...he dug for him a shallow grave & laid his body down..."? It's just a great story telling song. It's more straight forward than if Bob Dylan would have written it. After hearing dozens of other versions this one is still my absolute favorite. Cumberland rocks hard here & it is also one of the all-time great renditions. He's Gone is a gem & one of the best as well. That song is misunderstood because most people think it is some sort of a tribute but it is actually about Mickey Hart's father who was their road manager & he apparently stole some cash from them & they had to fire him. "....rat in a drain ditch..." I cannot say enough about China>Rider. It is probably one of their most famous combos. One was rarely played without the other past 69' or so. Anyway, yet again this is my favorite version. The segue into Rider is seamless, beautiful & rocking. Keith's pianer really makes Rider cook. Good vocals here too. The pigpen tunes are fun, esp. Mr. Charlie (side note: I've read where some people claim Mr. Charlie is none other than Charles Manson! ..."gonna scare you up un' shootcha! Mr. Charlie told me so...it just shows you how outrageous people get when dissecting music). I actually agree with your idea of a double album. I really think a condensed version would have been a better record. I'm also pleased that you quoted 'Brown Eyed Women'. This & 'Ramble On' are also a couple of my favorite versions. Reading live ratings on Dead songs I'm in the minority on this. Very few "favorite version ever"'s come from this tour. It's a shame because they really hit a stride that continued on until their infamous Creamery show in August on Ken Kesey's farm. And that show is perhaps regarded as their best show ever by many seasoned Deadheads. I cannot say but I've never heard a tour from The Dead or any other band that sounded quite like this one. I give this record my highest recommendation.
Arnold Layne <firstname.lastname@example.org> (22.12.2002)
"And what kind of dork would let a BEAR make his choice, anyway?"Well Bear Owsley did make the best LSD this side of Golden Gate Park.
Glenn Wiener <GJW0721@aol.com> (27.04.2003)
Actually I found a version of this recording with extra tracks which include an extended version of 'Good Lovin', 'Big Boss Man', another trying version of 'Smokestack Lightning', and 'Sitting On Top Of The World'. Pig Pen sings the first three songs mentioned and Garcia the last one. 'Good Lovin' is a little long but plenty energetic around the vocals. This second version of 'Smokestack' is again patience trying as the first one. The other tunes are pretty good.As for the original seven tunes, 'Hard To Handle' is pretty spunky even if the rhythms are a little wacky. Pig Pen gives the song some style. 'Katie Mae' is the best of the acoustic numbers though the five tune set is indeed warm on intimacy and atompsherics if not mind blowing on song material. I mentioned that 'Smokestack Lightning' was patience trying in the previous paragraph so that is all I have to say about this middle of the raod CD.
I believe this is an excellent album with no weak point. Although these recordings do not compare to their live performances it is still moving. 'The Weather Report Suite' is a breathtaking song that still gives me goosebumps.
I agree that this was one of the band's least inspired albums. This was produced at a time when they were utterly spent from touring (especially Jerry), and were about to "split up" for a year. But some of the songs sounded really great live. For example, it's REALLY worh it to listen to an early version of 'Loose Lucy' (say from 1973; yes they were playing this one live over a year before they put it on an album)--very energetic, downright raunchy, and at a completely different tempo from the studio version.
Chad Whittaker <NekPants@prodigy.net> (23.08.2001)
I think Mars Hotel is the strongest Dead studio album with Terrapin Station a close second. I don't think it's fair to condemn "Unbroken Chain" solely because of the sprinkled synth sounds throughout the song. There's a lot of tasty stuff throughout including one of the best Jerry solos in the middle jam. The song is one of the handful of masterpieces they've done over the years ('Terrapin Station', 'Weather Report Suite', and the 'Dark Star' on Live/Dead are some others). You complain of them not "rocking" enough. I think you need to check this song out again and really LISTEN. If that's not "rocking", then I don't know what is! Thanks for welcoming our opinions.
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Glenn Wiener <Glenn.Wiener@Entex.com> (31.08.99)
Its funny that I feel more positive about this album yet I would give it a nine on your scale as well. I like all the songs on this record yet none are super outstanding. I do like to listen to it now and then mostly due to the racy 'Passenger', the embellishments on 'Estimated Prophet', and the mood shifts of the 'Terrapin Suite'. However, the Dead's best works are on other albums.
Bob Josef <Trfesok@aol.com> (05.07.2002)
A lot of Deadheads hate this album, because it "doesn't sound like the Dead." Even most of the Dead members hated it, because of producer Keith Olsen's "tampering" -- the mix and orchestral overdubs, which were done afterward without the Dead's consent. But this is precisely why I like it, because it's very atypical of their frequently undisciplined sound.However, the record's point rating is dragged down by the anchor of the track that really deserves your blue highlighting -- not "Sunrise," but the horrible cover of "Dancing in the Streets." This has to be one of the most atrocious things ever recorded by the Dead. The Dead's attempt to turn a Motown soul classic into one of their typical country-rock shuffles is an utter disaster -- poorly played, mixed and sung (and the singing was even worse when they performed it on "Saturday Night Live"). They might have been able to pull it off when Pigpen was in the group, but this recording is just wrong, wrong, wrong, wrong. But everything else is really good. "Estimated Prophet" is probably the best thing Weir had done since American Beauty, with that neat lyric about a the visions of a schizophrenic homeless man. Very cool music. Ditto for Phil Lesh -- "Passenger" is a rare songwriting attempt for the bassist, but it's a good rocker. "Samson" is the sort of folk song that has always been the Dead's forte, and they pull it off. I especially like the funky percussion. And a big disagreement on the lovely "Sunrise." This almost sounds like the Dead doing Renaissance -- something one would never expect they could do. But it's a beautiful song - -the lyrics (about a friend of Donna's who had died) are poignant, and her voice is gorgeous. On the whole, the singing on Side 1 from both Weir and Donna is very strong (except for that one awful song I won't mention again). As for the "Terrapin Station" suite, it probably is the best long form piece ever done by the group. The story line in Hunter's lyrics is fascinating. And despite the band's objections, the orchestration adds much needed structure and power to the piece. I once heard the band perform it live (no orchestra), and it just didn't work. Good singing and wonderful playing from Garcia. It's too bad that the band never finished the piece, but I would guess they were so upset at what Olsen did that they abandoned it. Hunter's complete lyrics are actually a seven part epic poem, which probably meant a double album. Hunter added some music on his own to some of them for one of his solo albums, extending it to about 40 minutes, but the rest was not completed. Which is too bad, because the band could have produced their finest album if they had done so.
Glenn Wiener <GJW0721@aol.com> (21.05.2003)
I wouldn't classify myself as a Dead head. However, I do like most of the Grateful Dead's music and Shakedown Street falls into a good or even a very good category.Truthfully I like the two songs you dislike('Good Lovin', 'I Need A Miracle'). Their upbeat nature sort of balances out the zen side of Jerry's contributions. There are some disco elements but the instrumental work is far superior to anything from the Saturday Night Fever crowd.
Glenn Wiener <Glenn.Wiener@Entex.com> (15.10.99)
The overall rating is pretty much in the ball park. I would say about a nine or a ten on your fifteen point scale. I like Bobby's somewhat more than you but I do admit that the song structure could be a bit better. Truthfully 'Don't Ease Me In' is my favorite of this lot cause of the bouncy rhythm. A good but definitely not spectacular recording.
'Althea' is by far the best song on this album and from a deadheads perspective one of the funkiest best dancin dead tunes of all time.
Bob Josef <Trfesok@aol.com> (26.06.2006)
I don't quite agree that's it's the least Dead-sounding record of their career (TS, with all those strings, would get that honor), but I don't think it's bad. Mainly because, like you, I'm no Deadhead. I prefer the Dead when they're actually playing songs, and all of these qualify. It certainly has a rather slick pop production (the producer did time with Foreigner at one point), but I think it actually works.When I first heard Mydland's songs, I thought Michael McDonald had left the Doobies and joined the Dead. Not a bad voice at this point, but these songs really are quite un-Deadlike, including those straightforward love songs lyrics. And I also actually like Weir's songs. Those weird noises in "Feel Like a Stranger" are not synths, but enveloped guitar from Garcia. That really makes the song for me, although those lyrics (picking up a woman in a bar?), again, seem rather ordinary for the Dead. "Lost Sailor" does meander some, but that's the point -- the song is about a lost sailor, so that actually works. I really like the bouncy, optimistic chorus on "Saint of Circumstance," too. Good piano work from Mydland on both of these. Garcia's tracks, as you said, preserve the Dead vibeon this album. I used to think "Althea" was really boring, but the groove has grown on me. "Alabama Getaway" may get the nod for top track for me, too. I only heard the song performed live once -- by Bob Dylan, as an encore to on of his concerts! I guess since the Dead did so many of his songs, he felt that he had to return the favor!
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Glenn Wiener <GJW0721@aol.com> (21.05.2003)
In spite of its strong commercial appeal, this recording remains a winner in the Grateful Dead. Strong melodies exist throughout especially with the lead off track 'Touch Of Grey'. 'Throwing Stones' has some cool overtones with the ashes, ashes all fall down lyric. 'Black Muddy River' is oh so touching. Heck I like all of these tracks. Not exactly their best recording(I like American Beauty and several cuts from the Pig Pen era more) but definitely consistent from start to finish.
Michael H. <email@example.com> (20.01.2004)
Remember my Brent Mydland comments on Built To Last? Well, lets talk: I happen to have a promo album of Brent Mydland interviewing the band members about the In The Dark album on this promo album called Talk To Themselves. Heaing the guy talk and then sing, its a wonder why he doesnt clear his throat or drink some water. Didnt this guy die from drug use? Well, hearing him sing on "Tons Of Steel" turns the Grateful Dead into a totally different band. So the outcome depends on the listener. Now lets go back and give the statements commonly heard: When pig Pen died, in came both Keith and Donna. For there time there untill the "Dead" reunion, it was Donna who was the only female member of the band. It just seems like for her you would have to search for her vocals sometimes (subtle mix used to good effect) but Donna (I know how to pronounce her last name) was the most technically proficient singer, but sometimes on stage she had problems, right. Do your research. Depends on how she sang into the mic, how close she was, and how they mix her voice (check out the movie, you know) she could be either good or off key ("...off key holler"). As in the case of Brent Mydland, he seems to be a good enough in backup (like in that video) but when he plays live on stage, he looks like he is on drugs (check his facial expressions) So like anybody else, they have there good nights and bad nights, all bands do, in the instermentation and vocals and backup singers. So Brent can do and cant sometimes. Your guess is as good as mine.
Glenn Wiener <Glenn.Wiener@Entex.com> (15.10.99)
I agree with rating but disagree as to the best songs. Truthfully Mydlands 'Blow Away' is my choice for number one as I like the emotional singing and overall steadiness of the rhythms. 'Picasso Moon' is a decent second with a fairly different rhythm. The rest of the songs have a little something special but grow stale after a while as they offer little in an alternate melody. Even my two faves lose some gas after a while. Classics these will never be. Too much special effects and not enough style. 'Standing On The Moon'(your fave) is probably my least fave as I can not think of anything special about it. It just drags and drags and adds too much synthesizer.
Michael H. <firstname.lastname@example.org> (07.01.2004)
In a way, I agree about Brent Mydland, but you should hear him speak. its unusual and uncanny. I remember hearing this album all the way through and noticing how much his voice sounds terrible. But he can be a good backing vocalist if he tries hard-get the video "Downhill from here " and check it out. As for the other material, I will have to re-hear the album and see where its in Synthesizer a lot, because I didnt notice. Or I just havent heard it in a long time.
Ryan Atkinson <email@example.com> (21.05.2003)
Interesting synchronicity on the Sting comment, as I've just read your review as I'm listening to Dream of the Blue Turtles for the first time, and I was just thinking to myself how much it sounds like live Grateful Dead, circa 1990-1991. And as you may not have known, Sting opened for the Dead quite a few times in the early 90's, and now (so I've heard), he gets Deadheads following him around, which is probably exactly what he deserves.Oh, and, about the packaging...you must've gotten a reissue! Ha!
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Andy Slater <firstname.lastname@example.org> (25.11.2003)
Disc 4 is worth the price of the entire album. "Morning Dew" is a superb song, with interesting lyrics and beautiful music. "Cold Rain and Snow" is a similar groove, very pretty and pleasant. "Wharf Rat" is also a good song. What makes this disc great, however, is "Drums" and "Jam." Those twelve minutes are probably the Dead's third finest jam ever, after "Dark Star" and "That's it for the other one." Some of Jerry Garcia's guitar lines on that jam just blow your mind. The first 4 or 5 minutes are the best.