Take me for a walk in the morning dew, my honey
April 11, 2018 7:47 PM Subscribe
Morning Dew is a post-nuclear protest song, written in 1961 by Canadian Bonnie Dobson who was living in LA at the time (it was the first song she wrote). "I was at a girlfriend's house discussing nuclear destruction; everyone was very gloomy long before the Cuban Missile Crisis. We believed atomic annihilation was imminent." Dobson has stated that the initial inspiration for Morning Dew was the film On the Beach which is focused on the survivors of virtual global annihilation by nuclear holocaust. There has been some dispute over the song's authorship; the power of the song is evidenced by the vast number of covers over the years.
Dobson premiered Morning Dew in her set at the first Mariposa Folk Festival in 1961, and the song's first recorded version was from her Folk City live album in 1962. A recording session at Gerdes Folk City with Bob Dylan and Phil Ochs resulted in the lyrics and chords being published as public domain. She also recorded a version on her eponymous 1969 album.
The song was first covered by the Briarwood Singers, then by Fred Neil and Vince Martin for their album Tear Down The Walls. In that version, Fred changed the opening line from 'Take me for a walk in the morning dew' to 'Walk me out in the morning dew.'
The version with reworked lyrics was recorded by Tim Rose on his eponymous LP from 1967, and he added his name to the songwriting credits after soliciting permission to revise the song. Dobson agreed without having any intended revision specified and was subsequently much discomforted to learn that the changes were minimal.
Jerry Garcia was introduced to the Fred Neil recording by roadie Laird Grant in 1966 and it entered the Grateful Dead's live repertoire with this version at the Human Be-In on Jan 14th 1967 in Golden Gate Park. They played it a total of 241 times over their career; the last one was June 21 1995 at the Knickerbocker Arena. The rendition from the legendary May 5th 1977 Cornell show is a solid version clocking in at 14 minutes.
Marie McDonald McLaughlin Lawrie (aka Lulu) had the a chart hit with Morning Dew in 1968. Here's video from the BBC.
Jeff Beck recorded a version on his album Truth (in the Rolling Stone review, Al Kooper attributes the song to Tim Rose). Here is video of the Jeff Beck Group in 1972 at the Beat Club and Beck, Bogart, Appice live in Santa Monica 1973.
The West Coast Pop Art Experimental Band called it Will You Walk With Me when they recorded it in 1967.
So many covers - here's a version by the Human Beans. Video of Episode Six from 1967. Devo can always be relied on for a fine cover. The 31st of February (aka the Allman Brothers). Krokodil (a Swiss/German band from 1969). Lee Hazelwood. Long John Baldry. The National. Video of Nazareth. Einsturzende Neubauten. Sugar Shack.
Robert Plant recorded this version for his 2002 album Dreamland.
In 2013 at the Bert Jansch Tribute Concert Robert talks about Bonnie Dobson's authorship of the song and invites her onstage.
"Probably my proudest moments, because my kids got to see me perform. And when Robert introduced me I achieved closure. I felt like I'd got my song back for the first time since 1961."
Dobson premiered Morning Dew in her set at the first Mariposa Folk Festival in 1961, and the song's first recorded version was from her Folk City live album in 1962. A recording session at Gerdes Folk City with Bob Dylan and Phil Ochs resulted in the lyrics and chords being published as public domain. She also recorded a version on her eponymous 1969 album.
The song was first covered by the Briarwood Singers, then by Fred Neil and Vince Martin for their album Tear Down The Walls. In that version, Fred changed the opening line from 'Take me for a walk in the morning dew' to 'Walk me out in the morning dew.'
The version with reworked lyrics was recorded by Tim Rose on his eponymous LP from 1967, and he added his name to the songwriting credits after soliciting permission to revise the song. Dobson agreed without having any intended revision specified and was subsequently much discomforted to learn that the changes were minimal.
Jerry Garcia was introduced to the Fred Neil recording by roadie Laird Grant in 1966 and it entered the Grateful Dead's live repertoire with this version at the Human Be-In on Jan 14th 1967 in Golden Gate Park. They played it a total of 241 times over their career; the last one was June 21 1995 at the Knickerbocker Arena. The rendition from the legendary May 5th 1977 Cornell show is a solid version clocking in at 14 minutes.
Marie McDonald McLaughlin Lawrie (aka Lulu) had the a chart hit with Morning Dew in 1968. Here's video from the BBC.
Jeff Beck recorded a version on his album Truth (in the Rolling Stone review, Al Kooper attributes the song to Tim Rose). Here is video of the Jeff Beck Group in 1972 at the Beat Club and Beck, Bogart, Appice live in Santa Monica 1973.
The West Coast Pop Art Experimental Band called it Will You Walk With Me when they recorded it in 1967.
So many covers - here's a version by the Human Beans. Video of Episode Six from 1967. Devo can always be relied on for a fine cover. The 31st of February (aka the Allman Brothers). Krokodil (a Swiss/German band from 1969). Lee Hazelwood. Long John Baldry. The National. Video of Nazareth. Einsturzende Neubauten. Sugar Shack.
Robert Plant recorded this version for his 2002 album Dreamland.
In 2013 at the Bert Jansch Tribute Concert Robert talks about Bonnie Dobson's authorship of the song and invites her onstage.
"Probably my proudest moments, because my kids got to see me perform. And when Robert introduced me I achieved closure. I felt like I'd got my song back for the first time since 1961."
Jerry Garcia didn't have the greatest singing voice but he had a lot of heart, which totally made songs like this and Wharf Rat. How horrible would it had been if Bob Weir sang either?
posted by msalt at 10:48 PM on April 11, 2018 [1 favorite]
posted by msalt at 10:48 PM on April 11, 2018 [1 favorite]
Monday night at The Knick in 1990 was my favorite rendition of it. I put on a CD of my analog masters on a decent HiFi, and it's Flashback Time....
Since my tape isn't online, here's one that should work https://archive.org/details/gd90-03-25.fob-schoeps-mattes.miller.28389.sbeok.shnf
15 Space - 07:43
16 I Need A Miracle - 04:01
17 Dear Mr. Fantasy - 05:18
18 Gimme Some Lovin' - 05:06
19 Morning Dew - 11:22
20 Brokedown Palace - 05:56
posted by mikelieman at 11:00 PM on April 11, 2018
Since my tape isn't online, here's one that should work https://archive.org/details/gd90-03-25.fob-schoeps-mattes.miller.28389.sbeok.shnf
15 Space - 07:43
16 I Need A Miracle - 04:01
17 Dear Mr. Fantasy - 05:18
18 Gimme Some Lovin' - 05:06
19 Morning Dew - 11:22
20 Brokedown Palace - 05:56
posted by mikelieman at 11:00 PM on April 11, 2018
the last one was June 21 1995 at the Knickerbocker Arena
OH, man, was that a 2nd set for the ages. They ran LONG pre-drums, and I'm on I guess a 110, so I have 50 minutes before I need to flip my tape.
Scarlet Begonias-> Fire On The Mountain, Women Are Smarter, It's All Too Much, Playin' In The Band-> Drums-> Space-> Easy Answers-> Morning Dew, E: U.S. Blues (~95 Mins.)
9 Scarlet Begonias - 10:41
10 Fire on the Mountain - 18:08 ( 28:49 )
11 Man Smart Woman Smarter - 07:37 (36:27 )
I flipped here. Because it seemed like a good idea at the time. Since I had no idea how far I had rewound after flipping, I dropped in my spare 90 for the last of the 2nd set and encore.
12 It's All Too Much - 06:01 (42:28 )
If you didn't flip now, you're fucked, they're not stopping for the next 20 minutes.
13 Playing in the Band - 03:56 (46:24 )
14 Supplication Jam - 10:55
15 Drums - 06:41
16 Space - 12:35
17 Easy Answers - 06:44
18 Morning Dew - 13:59
19 U.S. Blues - 06:12
posted by mikelieman at 11:09 PM on April 11, 2018 [3 favorites]
OH, man, was that a 2nd set for the ages. They ran LONG pre-drums, and I'm on I guess a 110, so I have 50 minutes before I need to flip my tape.
Scarlet Begonias-> Fire On The Mountain, Women Are Smarter, It's All Too Much, Playin' In The Band-> Drums-> Space-> Easy Answers-> Morning Dew, E: U.S. Blues (~95 Mins.)
9 Scarlet Begonias - 10:41
10 Fire on the Mountain - 18:08 ( 28:49 )
11 Man Smart Woman Smarter - 07:37 (36:27 )
I flipped here. Because it seemed like a good idea at the time. Since I had no idea how far I had rewound after flipping, I dropped in my spare 90 for the last of the 2nd set and encore.
12 It's All Too Much - 06:01 (42:28 )
If you didn't flip now, you're fucked, they're not stopping for the next 20 minutes.
13 Playing in the Band - 03:56 (46:24 )
14 Supplication Jam - 10:55
15 Drums - 06:41
16 Space - 12:35
17 Easy Answers - 06:44
18 Morning Dew - 13:59
19 U.S. Blues - 06:12
posted by mikelieman at 11:09 PM on April 11, 2018 [3 favorites]
Scottish hard rockers Nazareth also slammed out their own cover back in the day.
That duet between Bonnie and Plant is now my favorite version.
posted by Ber at 3:37 AM on April 12, 2018
That duet between Bonnie and Plant is now my favorite version.
posted by Ber at 3:37 AM on April 12, 2018
The rendition from the legendary May [8]th 1977 Cornell show is a solid version clocking in at 14 minutes.
I wore out my TDK SA-90 copy of that half of that set years ago and was very happy when it resurfaced as an official album last year.
posted by octothorpe at 4:59 AM on April 12, 2018
I wore out my TDK SA-90 copy of that half of that set years ago and was very happy when it resurfaced as an official album last year.
posted by octothorpe at 4:59 AM on April 12, 2018
I know this tune via Tim Rose but I didn't know its story. Thanks for posting!
posted by Sheydem-tants at 5:39 AM on April 12, 2018
posted by Sheydem-tants at 5:39 AM on April 12, 2018
→ A recording session at Gerdes Folk City with Bob Dylan and Phil Ochs resulted in the lyrics and chords being published as public domain.
because of course it was: what nice Canadian girl could turn down Phil and Bob? The Folk Scare was all about doing slim ownership research, crying 'Public Domain!' then reaping the arranger's fees. Those fees, of course, being recycled into legal protection for your trivial rewrite.
It still happens. Joanna Newsom's label credited “Same Old Man” on Divers as “Lyrics: trad.”, even though they're the very distinctly twisted ones Steve Weber wrote for the Holy Modal Rounders and later performed by their friend Karen Dalton. If anyone could use the money for that, it's Steve, as last I heard he wasn't doing so great.
posted by scruss at 8:11 AM on April 12, 2018 [1 favorite]
because of course it was: what nice Canadian girl could turn down Phil and Bob? The Folk Scare was all about doing slim ownership research, crying 'Public Domain!' then reaping the arranger's fees. Those fees, of course, being recycled into legal protection for your trivial rewrite.
It still happens. Joanna Newsom's label credited “Same Old Man” on Divers as “Lyrics: trad.”, even though they're the very distinctly twisted ones Steve Weber wrote for the Holy Modal Rounders and later performed by their friend Karen Dalton. If anyone could use the money for that, it's Steve, as last I heard he wasn't doing so great.
posted by scruss at 8:11 AM on April 12, 2018 [1 favorite]
Einsturzende Neubauten yt
my go-to. Nothing like everyday life in Cold War Berlin to focus one's angst. Tho the Grateful Dead's take is worthy indeed, with the version from Europe 72 feeling particularly relevant ...
In the film, we hear from the recording engineer who was in charge of capturing their Europe ’72 tour for a live album. And this poor guy, Dennis “Wiz” Leonard, started as a Deadhead and then got the job of a lifetime. But it meant he missed the whole tour because he was in a small recording truck. And so on the last night of the tour he dropped acid, and abandoned his post for a minute. He had every intention of going back when the band started playing his favorite song, "Morning Dew." So he sat down, knowing full well that a great piece of music might not be recorded, because there was no one at the console. Jerry saw him and—with a look—let him know that it was okay. Even if it didn't get recorded, he should stay there. And it’s a beautiful story, and it speaks to something fantastic about the Grateful Dead. They really wanted their audience to participate in the creation of the music, and be there in the moment with them. And when you hear this "Morning Dew" and you realize that it kind of recorded itself, it's an insight into what's so magical about the Grateful Dead.
posted by philip-random at 9:01 AM on April 12, 2018 [3 favorites]
my go-to. Nothing like everyday life in Cold War Berlin to focus one's angst. Tho the Grateful Dead's take is worthy indeed, with the version from Europe 72 feeling particularly relevant ...
In the film, we hear from the recording engineer who was in charge of capturing their Europe ’72 tour for a live album. And this poor guy, Dennis “Wiz” Leonard, started as a Deadhead and then got the job of a lifetime. But it meant he missed the whole tour because he was in a small recording truck. And so on the last night of the tour he dropped acid, and abandoned his post for a minute. He had every intention of going back when the band started playing his favorite song, "Morning Dew." So he sat down, knowing full well that a great piece of music might not be recorded, because there was no one at the console. Jerry saw him and—with a look—let him know that it was okay. Even if it didn't get recorded, he should stay there. And it’s a beautiful story, and it speaks to something fantastic about the Grateful Dead. They really wanted their audience to participate in the creation of the music, and be there in the moment with them. And when you hear this "Morning Dew" and you realize that it kind of recorded itself, it's an insight into what's so magical about the Grateful Dead.
posted by philip-random at 9:01 AM on April 12, 2018 [3 favorites]
Like others, I had no idea this was a post-nuclear war song. I first heard the Jeff Beck version from Truth – a fantastic album that introduced us in America to Ron Wood (21 at the time, on bass), and the guy who actually sang about walking out in the morning dew, the 23-year-old Rod Stewart.
posted by LeLiLo at 9:49 AM on April 12, 2018 [1 favorite]
posted by LeLiLo at 9:49 AM on April 12, 2018 [1 favorite]
Monday night at The Knick in 1990 was my favorite rendition of it. I put on a CD of my analog masters on a decent HiFi, and it's Flashback Time....
Since my tape isn't online, here's one that should work https://archive.org/details/gd90-03-25.fob-schoeps-mattes.miller.28389.sbeok.shnf
Looks like you mean the next night? I don't know if you have a preferred recording - I'm only pretty casually a fan but I liked the personal reminiscence of taping.
posted by atoxyl at 11:49 AM on April 12, 2018
Since my tape isn't online, here's one that should work https://archive.org/details/gd90-03-25.fob-schoeps-mattes.miller.28389.sbeok.shnf
Looks like you mean the next night? I don't know if you have a preferred recording - I'm only pretty casually a fan but I liked the personal reminiscence of taping.
posted by atoxyl at 11:49 AM on April 12, 2018
So wait, Robert Plant covered a song and not only DIDN'T claim authorship, invited the actual author onstage to sing with him?! What strange alternate time line have I moved to?
posted by evilDoug at 12:06 PM on April 12, 2018 [1 favorite]
posted by evilDoug at 12:06 PM on April 12, 2018 [1 favorite]
because of course it was: what nice Canadian girl could turn down Phil and Bob? The Folk Scare was all about doing slim ownership research, crying 'Public Domain!' then reaping the arranger's fees. Those fees, of course, being recycled into legal protection for your trivial rewrite.
Here's a description I found of what happened with the rights:
All three had that day’s songs (lyrics and chords) published in the mimeographed tip sheet Broadside. Dylan had publishing with Columbia (he called himself Blind Boy Grunt), but Dobson’s song became Public Domain. And while Elektra’s Jac Holzman signed her to his offshoot Nina Music, nothing prevented Rose from sticking his moniker in brackets.
But I'm still not entirely clear on what it means. Is this because of the pre-1978 publishing/registration scheme? And then Tim Rose took credit for minor revisions to the lyrics? It sounds like Dobson does at least retain ownership of the music.
posted by atoxyl at 12:34 PM on April 12, 2018
Here's a description I found of what happened with the rights:
All three had that day’s songs (lyrics and chords) published in the mimeographed tip sheet Broadside. Dylan had publishing with Columbia (he called himself Blind Boy Grunt), but Dobson’s song became Public Domain. And while Elektra’s Jac Holzman signed her to his offshoot Nina Music, nothing prevented Rose from sticking his moniker in brackets.
But I'm still not entirely clear on what it means. Is this because of the pre-1978 publishing/registration scheme? And then Tim Rose took credit for minor revisions to the lyrics? It sounds like Dobson does at least retain ownership of the music.
posted by atoxyl at 12:34 PM on April 12, 2018
From this page:
“I never met Tim Rose, but I went to see him at the Half Moon, Putney. When he announced the song, I shouted: ‘How about giving the writer some credit?’ He was conciliatory, then he turned testy and said: ‘Why the… should you complain? You get your 75 per cent!’”
posted by parki at 12:50 PM on April 12, 2018 [1 favorite]
“I never met Tim Rose, but I went to see him at the Half Moon, Putney. When he announced the song, I shouted: ‘How about giving the writer some credit?’ He was conciliatory, then he turned testy and said: ‘Why the… should you complain? You get your 75 per cent!’”
posted by parki at 12:50 PM on April 12, 2018 [1 favorite]
Looks like you mean the next night? I don't know if you have a preferred recording - I'm only pretty casually a fan but I liked the personal reminiscence of taping.
GAK, Cut and Pasted the wrong URL. My bad, thanks for catching that.
My PREFERRED recordings are the ones I did. Everything that I REALLY care about I have Working Masters -> CD transfers I did in the late 90's. I just couldn't ( as intended ) link to them.
I was in the AV club in High School, and by college they had the Official Taper's Pit, so it was a natural Attention Deficit Disorder thing to do to haul in a couple of grand of recording equipment. ( PROTIP: Everything comes into the show nicely packed. IN THEORY, after the show, it comes down and goes into the right places. BRING AN XXL duffel bag, so if one of your friends gives you a dosed coke ( In their defense, they did say "I put a big hit of acid in this!" ) and you just want to get out of there, everything goes into the duffel, and you sort it out later after a shower in the hotel room.... )
posted by mikelieman at 12:52 PM on April 12, 2018
GAK, Cut and Pasted the wrong URL. My bad, thanks for catching that.
My PREFERRED recordings are the ones I did. Everything that I REALLY care about I have Working Masters -> CD transfers I did in the late 90's. I just couldn't ( as intended ) link to them.
I was in the AV club in High School, and by college they had the Official Taper's Pit, so it was a natural Attention Deficit Disorder thing to do to haul in a couple of grand of recording equipment. ( PROTIP: Everything comes into the show nicely packed. IN THEORY, after the show, it comes down and goes into the right places. BRING AN XXL duffel bag, so if one of your friends gives you a dosed coke ( In their defense, they did say "I put a big hit of acid in this!" ) and you just want to get out of there, everything goes into the duffel, and you sort it out later after a shower in the hotel room.... )
posted by mikelieman at 12:52 PM on April 12, 2018
In the film, we hear from the recording engineer who was in charge of capturing their Europe ’72 tour for a live album. And this poor guy, Dennis “Wiz” Leonard, started as a Deadhead and then got the job of a lifetime. But it meant he missed the whole tour because he was in a small recording truck. And so on the last night of the tour he dropped acid, and abandoned his post for a minute. He had every intention of going back when the band started playing his favorite song, "Morning Dew." So he sat down, knowing full well that a great piece of music might not be recorded, because there was no one at the console. Jerry saw him and—with a look—let him know that it was okay. Even if it didn't get recorded, he should stay there. And it’s a beautiful story, and it speaks to something fantastic about the Grateful Dead. They really wanted their audience to participate in the creation of the music, and be there in the moment with them. And when you hear this "Morning Dew" and you realize that it kind of recorded itself, it's an insight into what's so magical about the Grateful Dead.
I think this is implied to be the recording in question?
posted by atoxyl at 1:44 PM on April 12, 2018 [1 favorite]
I think this is implied to be the recording in question?
posted by atoxyl at 1:44 PM on April 12, 2018 [1 favorite]
Uncanny. After many years of casual listening, I became obsessed with “Morning Dew” a month or so back, and have had various versions on heavy rotation ever since. (Yes, even those of the loathesomely benign Grateful Dead.) Thanks for the post!
posted by adamgreenfield at 9:57 AM on April 14, 2018
posted by adamgreenfield at 9:57 AM on April 14, 2018
I think this is implied to be the recording in question? yt
more than just implied in the Grateful Dead movie. And the story goes further. Apparently, Jerry Garcia played most of the song with his back to the audience because he was in tears, knowing he'd never performed it better ... but it wasn't being recorded.
Little did he know ...
posted by philip-random at 1:43 PM on April 14, 2018
more than just implied in the Grateful Dead movie. And the story goes further. Apparently, Jerry Garcia played most of the song with his back to the audience because he was in tears, knowing he'd never performed it better ... but it wasn't being recorded.
Little did he know ...
posted by philip-random at 1:43 PM on April 14, 2018
Yes, even those of the loathesomely benign Grateful Dead.
As I said upthread I consider myself sort of halfway a real Dead fan because I really like some of their songs - enough to seek out live recordings, though of course that's easy these days - but am not moved enough with some of the others to want to listen to shows all the way through very often. But this song is one of the ones I really like in its best versions.
See also:
Wharf Rat
The Other One
Dark Star
etc.
posted by atoxyl at 2:10 PM on April 14, 2018 [1 favorite]
As I said upthread I consider myself sort of halfway a real Dead fan because I really like some of their songs - enough to seek out live recordings, though of course that's easy these days - but am not moved enough with some of the others to want to listen to shows all the way through very often. But this song is one of the ones I really like in its best versions.
See also:
Wharf Rat
The Other One
Dark Star
etc.
posted by atoxyl at 2:10 PM on April 14, 2018 [1 favorite]
I consider myself sort of halfway a real Dead fan because I really like some of their songs
same with me, more or less. But I would recommend that recent movie Long Strange Trip to pretty much anyone who's remotely interested in American culture, from the 1960s onward. Long and strange indeed, and toward the end, it introduced me to a truly great song I'd somehow managed to not hear previously ...
Days Between
posted by philip-random at 4:29 PM on April 14, 2018 [2 favorites]
same with me, more or less. But I would recommend that recent movie Long Strange Trip to pretty much anyone who's remotely interested in American culture, from the 1960s onward. Long and strange indeed, and toward the end, it introduced me to a truly great song I'd somehow managed to not hear previously ...
Days Between
posted by philip-random at 4:29 PM on April 14, 2018 [2 favorites]
But this song is one of the ones I really like in its best versions. See also: Wharf Rat, The Other One, Dark Star
Couldn't agree more. The most annoying thing about Deadheads IMHO is the willing abandonment of critical discernment. It is definitely NOT all good, and the ratio is much worse than 20-80.
Other ones that are sometimes very, very good though are Truckin'=>Epilogue (is the Europe 72 one the only really good long version? Everything got so noodly in '73), Alligator, St. Stephen, Hard to Handle and Easy Wind. Why in the world did they ever drop Easy Wind?
posted by msalt at 11:12 PM on April 14, 2018
Couldn't agree more. The most annoying thing about Deadheads IMHO is the willing abandonment of critical discernment. It is definitely NOT all good, and the ratio is much worse than 20-80.
Other ones that are sometimes very, very good though are Truckin'=>Epilogue (is the Europe 72 one the only really good long version? Everything got so noodly in '73), Alligator, St. Stephen, Hard to Handle and Easy Wind. Why in the world did they ever drop Easy Wind?
posted by msalt at 11:12 PM on April 14, 2018
I shouldn't be surprised but it turns out that the 5/26 Morning Dew (and the rest of Europe '72) have been analyzed to an obsessive degree. This essay suggests that the first two verses of that performance were overdubbed in the studio, and the entire song was sped up 4.5% on the original Europe '72 album (but not at all on the 2011 box set).
Also noteworthy: that Truckin' => Epilogue I like so much was part of a continuous jam with this very Morning Dew on the last night of the tour, with a less amazing Other One in the middle. (It's very hard to compete with the Skull and Roses Other One IMHO.)
posted by msalt at 11:36 PM on April 14, 2018 [1 favorite]
Also noteworthy: that Truckin' => Epilogue I like so much was part of a continuous jam with this very Morning Dew on the last night of the tour, with a less amazing Other One in the middle. (It's very hard to compete with the Skull and Roses Other One IMHO.)
posted by msalt at 11:36 PM on April 14, 2018 [1 favorite]
Other ones that are sometimes very, very good though are Truckin'=>Epilogue (is the Europe 72 one the only really good long version? Everything got so noodly in '73), Alligator, St. Stephen, Hard to Handle and Easy Wind. Why in the world did they ever drop Easy Wind?
Also Chinacat contains elements I don't particularly like about the Dead - the general hippy dippy feeling - but the Rider transition redeems it.
Some of the Americana stuff is perfectly good - I'm not going to talk shit about a song like "Friend of the Devil" - but fails to benefit from extended live fucking-around.
When you come down to it, what works for me is weighted pretty heavily toward about '69-72. But that is the nice thing you discover about the taping culture - even if you have to conclude they were not a very consistent band you can access many of their all time peak moments. You don't have to feel bad if the only thing you really want to listen to is that one Dark Star/Wharf Rat jam.
posted by atoxyl at 11:31 AM on April 15, 2018 [1 favorite]
Also Chinacat contains elements I don't particularly like about the Dead - the general hippy dippy feeling - but the Rider transition redeems it.
Some of the Americana stuff is perfectly good - I'm not going to talk shit about a song like "Friend of the Devil" - but fails to benefit from extended live fucking-around.
When you come down to it, what works for me is weighted pretty heavily toward about '69-72. But that is the nice thing you discover about the taping culture - even if you have to conclude they were not a very consistent band you can access many of their all time peak moments. You don't have to feel bad if the only thing you really want to listen to is that one Dark Star/Wharf Rat jam.
posted by atoxyl at 11:31 AM on April 15, 2018 [1 favorite]
Agreed. Playing in the Band has a bit too much of that "magical incense" feel for my taste, too, and I can't help but think of the guitars in the theme song to Room 222 when I hear it.
I have a hunch that, even when he wasn't doing much onstage, Pigpen would glare at the rest of them whenever they got too noodly and kept them in line. That explains why songs never ended or went anywhere after 1972.
posted by msalt at 2:24 PM on April 15, 2018
I have a hunch that, even when he wasn't doing much onstage, Pigpen would glare at the rest of them whenever they got too noodly and kept them in line. That explains why songs never ended or went anywhere after 1972.
posted by msalt at 2:24 PM on April 15, 2018
Well Pig's version of "noodling" was to do his "Lovelight" bit for like ten minutes. But it was something of a revelation to me when I saw footage of them playing with him early on, like - oh, they were a down-and-dirty party band.
I grew up on later psychedelic music so the first time I tried to listen to the Dead I was entirely underwhelmed by how not heavy they were. It was only years later that I discovered that they could in fact tear it up sometimes. I don't mind stretching out a jam, but it's got to have some power behind it.
posted by atoxyl at 2:48 PM on April 15, 2018 [1 favorite]
I grew up on later psychedelic music so the first time I tried to listen to the Dead I was entirely underwhelmed by how not heavy they were. It was only years later that I discovered that they could in fact tear it up sometimes. I don't mind stretching out a jam, but it's got to have some power behind it.
posted by atoxyl at 2:48 PM on April 15, 2018 [1 favorite]
Well Pig's version of "noodling" was to do his "Lovelight" bit for like ten minutes
That's very fair, but he didn't find that part dull at all. And I doubt anyone else in the band was going to glare at him.
Not only are those rants long but they're rapey as hell sometimes, too. "
Might as well give it to me, cause ya know I'm gonna take it anway..."
posted by msalt at 2:11 PM on April 16, 2018
That's very fair, but he didn't find that part dull at all. And I doubt anyone else in the band was going to glare at him.
Not only are those rants long but they're rapey as hell sometimes, too. "
Might as well give it to me, cause ya know I'm gonna take it anway..."
posted by msalt at 2:11 PM on April 16, 2018
NZ garage noise badtimers King Loser recorded a great version of this. (miss you Celia)
posted by quartzcity at 11:10 PM on May 7, 2018
posted by quartzcity at 11:10 PM on May 7, 2018
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I really enjoyed Devo's take as well.
Lots more to listen to tonight.
posted by OHenryPacey at 8:39 PM on April 11, 2018 [1 favorite]