Blair’s Golden Road Blog: The Forgotten Europe Tour
By Blair Jackson
I've long wondered why I almost never hear anyone talk about the Dead's fall 1981 tour of Europe. After all, 1981 was a generally strong year for the band. Brent had fully settled in by then, and though there were no new songs introduced, the best from 1980's Go to Heaven—“Feel Like a Stranger,” “Alabama Getaway,” “Althea” and the combo of “Lost Sailor” and “Saint of Circumstance”—had matured nicely. Substance issues notwithstanding, Garcia played remarkably well all year.
It's probably not fair to use the uniformly magnificent Europe '72 tour as a point of comparison, but the Dead's other Europe jaunts were pretty darn good, too. The short tour in '74 produced the superb Dick's Picks Vol. 7 from the Alexandra Palace in London, as well as hot shows in Paris and Dijon. And though none of the '90 Europe tour with Bruce and Vince has been released, there were a number of excellent shows that have been widely traded. That was also the only Dead tour of Europe that had a large number of Americans from the U.S. following it from city to city, so there is an abundance of stories about the shows that have been passed around. But fall '81? Not so much.
The fall tour was actually the Dead's second trek across the pond in 1981. In late April, they bopped over for five shows—four at the intimate Rainbow Theatre in London (where their '72 tour was supposed to start, but didn't), and the last an appearance on the popular TV show Rockpalast (which was shown in large parts of Europe) at the Grugahalle in Essen, Germany. The Essen stop was the reason the April tour happened at all—it was a de facto promo stop for the band, to lay the groundwork and build excitement for a larger tour of Europe in October '81.
Bootleg copies of the Rockpalast show have been in circulation for many years, but unfortunately it has not found its way to a formal release—despite the fact that DVD purveyors Eagle Vision have been putting out excellent historic Rockpalast shows (Little Feat '77!) for quite a while. The Dead show is most famous for featuring Pete Townshend's interesting, if somewhat uncomfortable, appearance during “Not Fade Away” and “Wharf Rat” during the second set, not to mention the Flying Karamazov Brothers juggling troupe creating all sorts of mayhem during the drum solo.
This poster for the Dead's concert in Russelsheim used Dennis Larkins' artwork for the band's just-released Dead Set album.
But I was curious about the fall '81 Europe tour, which began in Edinburgh, Scotland, on Sept. 30, returned to the Rainbow in London for four shows the first week of October, and then moved on to Copenhagen, three cities in Germany—Bremen, Munich and Russelsheim—Amsterdam, Paris and Barcelona. So, over the past month, I listened to every show, all the way through, in order. I figured there must be a few gems in there, some under-the-radar shows that would have to be released some day.
The good news is that musically this was a fantastic tour! The band played with tons of energy and imagination. I can honestly say there's not a true clunker show in the bunch, and a few would rate among the best shows of '81. The bad news—and it's very bad news indeed—can be summed up in just four words: The soundboard tapes suck!
The problem surfaced in the SBD recording of the first show, from Edinburgh. Jerry, Brent, Mickey and Bill sound great, their parts completely clear. The vocals, too, are sharp, if mixed way too high. But wait a second, the Dead weren't a quartet in the fall of '81, were they? Because those four guys are all you can hear; Phil and Bob are missing from the mix! OK, a few times you might notice a little thppp, thppp bass coming through on a quiet passage, and there are points where you can almost imagine that Bob is, if not onstage with the others, perhaps playing along in a room backstage or down the street. Talk about frustrating! Jerry could be (and usually was) shredding, but it doesn't sound whole. It doesn't feel right.
Unfortunately, most of the tour tapes suffer from the same malaise to different degrees—not enough Bob and Phil. Anytime either of them poke through decently for a song or two it's a revelation and you can fully grok how well the band is playing. But those stretches are rare and even at their best are not up to the mix standards we've come to expect from the Dead. This was driven home to me any time I would play a well-mixed show from any other era after listening to one of the Europe '81 shows—“That's what the band is supposed to sound like!”
Why did this happen? And why are some other tapes from '81 inexcusably Weir-lite? If you listen to audience recordings of many of these shows (as I did), the instruments and vocals are all audible and seem to be well balanced (alas, Phil is rarely prominent enough for my taste on many audience tapes, but at least he's there). But for some reason, when the recordings were made (by mixer Dan Healy, I presume?), evidently no one bothered to monitor them and make sure what was going on tape reflected what was being heard in the hall. By the last couple of shows—Paris and Barcelona—things are considerably better sound-wise than the beginning of the tour, but still subpar in the grand scheme of Dead tapes.
Ironically, the best-sounding tapes of the entire tour are from the famous “Oops!” shows in Amsterdam, Oct. 15 and 16. Following the 10/13 show in Russelsheim, the band had originally been scheduled to play a pair of shows in the south of France, but they were rained out, so instead they flew to Amsterdam and played two nights at the Melkweg club (capacity around 500) using rented instruments! The second of the two shows fell on Bob's 34th birthday and is an absolute must-hear.
It starts with an eight-song acoustic set very much like the ones they played in the fall of '80 at the Warfield Theatre in SF and Radio City Music Hall in NYC. The second set became legendary instantly when the opening “Playing in the Band” eventually meandered into the '60s garage-rock classic “Hully Gully,” and later offered up surprisingly confident versions of “Gloria” (possibly the first since the mid-'60s) and “Lovelight,” which they had not played since Pigpen died. The rented guitars give the music a slightly different sound in places, but it's still Grateful Dead through and through. The set also contains fine versions of “The Wheel,” “Black Peter,” “Goin' Down the Road” and a couple of others. The two sets would fit neatly on two discs (nudge, nudge).
Now, I know I've devoted much of the verbiage above trashing the sound quality of the soundboard tapes, but I still thoroughly enjoyed listening to the shows, and you might, too. According to Volume II of The Deadhead's Taping Compendium, audience tapes exist for every show on the tour, but not all are represented on Archive.org, so if you're looking for alternatives to the worst SBDs, you may have to dig a little to find them.
Poster for hastily arranged Amsterdam shows.
Looking at the set lists, there isn't much to differentiate the Europe shows from most others in the '79-'82 period. But the playing is uniformly strong from the beginning of the tour to the end, and even songs you've heard a million times have life to them. Jerry is on fire and his voice still has some of that '70s sweetness, which dissipated more each year as the '80s progressed. Brent, too, was singing more than growling in those days, and I liked that he was still employing more synth textures than he did later. The “big” songs and combos never disappoint, and Jerry's ballads are stunning. There is also a little carryover from the 1980 acoustic sets, with electric versions of “On the Road Again” and “To Lay Me Down” cropping up here and there. “Lost Sailor” > “Saint” turns up in most shows, but there isn't a lame version in the bunch. The drum solos are exciting and varied, often featuring mega-duels as well as softer passages dominated by the tar (the legacy of Egypt '78).
Some highlights to look for:
If the four Rainbow shows (10/2,3,4,6) existed in acceptable-quality soundboards, they would make a killer box, because the entire range of the '81 Dead is very well-represented. On 10/2, there's a strong “Playing” >”Shakedown” > “Bertha” to open the second set. 10/3 has a first-set-ending “China Cat” > “I Know You Rider,” “Feel Like a Stranger” > “Franklin's Tower” to open the second set and a powerful “Morning Dew” out of “Not Fade Away.” 10/4 has one of the tour's best takes on “Let It Grow,” plus a long and flowing “Scarlet” > “Fire” and a “Spanish jam” going into “The Other One.” The 10/6 show was one of just a couple from the tour that I used to own on tape and it's quite inspired, boasting an 11-song first set that opens with “Shakedown Street,” and a second set that includes the rarely played “High Time,” a gnarly and abstract quotation from “Blues for Allah” during “space” (Egyptian leader Anwar Sadat had been assassinated earlier in the day), and then a rather unusual sequence of “The Wheel” > “Sugar Magnolia” > “Stella Blue” > “Good Lovin',” followed by an encore of “Sunshine Daydream” > “Brokedown Palace.”
The 10/8 Copenhagen show isn't quite up to the Rainbow concerts, but contains a strong pre-“drums”: “Scarlet” >”Fire,” “Playing” > “Terrapin.” The 10/10 Bremen concert features my favorite first set of the tour, with wicked turns on “Shakedown,” an awe-inspiring “Bird Song” and lightning “Let It Grow.” On 10/11, Jerry and Bob hopped over to Amsterdam and played an impromptu seven-song 35-minute acoustic set at the Melkweg which is fun, but not earthshaking. The following night in Munich (10/12) has another long, diverse and well-played first set (ending with “China” > “Rider”) and a second set that probably looks motley on paper, but which goes to some very cool spaces, particularly in the stretch that includes “Ship of Fools” > “Estimated Prophet” > “Goin' Down the Road.” There's another out-there “Bird Song” (as well as “To Lay Me Down”) in the first set of the 10/13 Russelsheim show, while the second set is highlighted by the most developed “Spanish jam” of the tour, another split “Sugar Magnolia,” and one of the strongest versions of “Satisfaction” you'll hear from this band.
After the Oops! shows in Amsterdam, the Dead tour closed with shows in Paris (a solid “Shakedown,” “Estimated” > “Eyes” and “Morning Dew”) and Barcelona—the only concert Jerry ever played in his father's homeland. That last one is a keeper, too, with a “Jack Straw” > “Franklin's” opener and sublime versions of “Let It Grow,” “Scarlet > Fire” and “Stella Blue.”
It would be nine years before the Dead returned to Europe.
Yes, please, to my ears, this is the best of the shows from this tour, with Jerry reallly stepping up to lead this nite. I remember hearing the story about Jerry in Spain, where he traveled thru a village there and was able to understand every thing the locals said to him, even tho he knew no spanish.
...Brent was born in Munich, Germany. I thought he played great at the shows in Germany on the '81 tour, and I agree with Blair that you can certainly hear him nice and loud on the sdbds of those shows...
I always found 1981 to be a great year for the boys.
9-26-81 was a choice send-off.
Didn't know about the "Fall 81 Europe Tour" 'til the plane-ride home from Woofalo.
That whole "New Wave" thing didn't help the musical/social relevance of us Hippies at the time.
Work got in the way of both these tours; I know I saw three of the shows during the two tours. All in London; I think two in the Spring and one in the Autumn. All of which I hugely enjoyed, all of which, at The Rainbow (not a big place), were, even if sold out, easy enough to move around in, and I spent one right and the front - and squeezed in there. Highlights few spring to mind, tho' Althea and Estimated Prophet hit hard - and Mickey's madness with the Beam I recall well, especially my brother's knees going when he started on the beam.
The guy who drove us to that show was going to get us some shrooms. But failed. So a quick drink at a nearby pub, and into the auditorium. I say to my brother - shame we couldn't get any mushrooms, and the guy in front of us turns round - classic Brit hippy with rather lank hair and an old army greatcoat (de rigeur for many years) says "You want shrooms?" and pulls out some baggies of 50 Liberty Caps. Suitably equipped, I do recall we hugely enjoyed the show, but - then this is always true for me - I couldn't remember the set list the next day, nor do I know it now.
No way on the level of '72 or even '72; regardless, these shows were a huge shot in the arm. I had naybe 3 or 4 bootleg LPs of the Dead, otherwise we had NO pre-internet idea of what the hell they were up to at all. So some powerhouse rock 'n roll a la Dead was more than welcome after a deathly silence. We'd hoped to see the band after Egypt, and that never happened, and after these shows had to wait another 9 years to see the Dead again. In that light - I loved these shows, and still visit them poor soundboards as they are.
...that the Rockpalast show is hardly earthshaking. I'd still like to see a high-quality release of it, as there is no other comparable video from that era.
I'm just kinda playing to rule, you know what I mean. But I learnt much from your book about these years, and they did start taking their toll. I agree the sound on many of the Europe shows makes things hard to judge what is going on. The nature of the Dead's collective improvisations requires a reasonable mix in order to judge what is happening, the whole is more than the sum of the parts, so if you are missing parts, well, the whole is just not there! I will, as always, go back and listen to some shows from this year. As I hope I made clear, I did enjoy a number of shows that year, and hell, must have seen certainly over 20, but the spirit started to drag a bit, at least mine did. Not sure why, I actually am left pretty cold by the German video, and the Milky Weg gigs, as historic as they obviously are. The first shows I saw that year were very early in the tour at the Stanley Theatre, loved them, wonderful To Lay Me Down the first night, and the rest of the show was fun too. Caught Utica, Hamptons, Spectrum, Glen Falls, FIrst 2 nights at Nassau, Cornell "PLaying in the Barn"!, Syracuse, LeHIgh, Buffalo, those are the shows I remember! Some were "hits" some were misses (Utica, Hamptons, Glen Falls). I will try to dig up decent sounding copies of the Europe shows and give them a listen again. Hey, what can I say, I am a cranky guy! : )
...You know I love you, man, but I think you're way off-base on this one. With the exception of a comically fast and inappropriate "Eyes of the World" on 10/10/81, I think Jerry's playing throughout the tour is quite amazing, and I love that chances are taken. I contrast that with the recent Spring '90 box which, good and solid as it is, feels very safe and almost rote to me in places, with little care put into transitions, even though the playing is hot... Europe '81 feels like it has some edge and danger to it... But of course YMMV!
BTW, it's Jerry himself who cuts short some of his ballads with those annoying transitions into "Around and Around" in a few cases on that '81 tour. I'll never understand why! Clangity-clang-cl-clang! Criminal!
I think Blair is a bit overly optimistic about this tour, his account of Townshend's contributions as "interesting but somewhat uncomfortable" I think gives the game away. For me, this tour, and the rest of the year, had some moments, but the corner had been turned. Shows would have, at best 20 mins of interesting music. On many nights Jerry just sort of mailed it in (does anyone really think the Rockpalast show is good, or, dare I say it, the Amsterdam shows, BORING!). Bobby's slide playing was often at its most annoying, and while Jerry would still occasionally be present, most nights he was obviously wondering about in his own mind, or half asleep. Wharf Rat jams would be cut short by Bobby firing up Round and Round or whatever, and his vocal "HA'S" were grating. To talk of Jerry "shredding" in a funny way makes the point. Jerry, at his best, was never about "shredding" per se, which to many sophisticated music listeners is a term of derision congering images of Bevus and Butthead playing air guitar. So Jerry shreds, Bobby wails, me, I fall asleep, and wondered if it was still worth travelling around hoping to hear 20 mins of interesting music. Keep this Europe tour, see the sites of Europe instead!
Barcelona is BY FAR my favorite '81 tape!!!!!! Any time someone says there may be an 80s release I hope for 10/19/81 or 4/23/83 or 6/30/85!
The 10/15 and 16/81 Melkwegs would be a really cool release, too.
Essen 3/28/81 IS very strong (the Estimated is very powerful!) and is available in excellent sound and on video...
PLEASE PUSH DAVE FOR 10/19/81 FOR US!!!!!!!
Don't know if anyone mentioned this yet or not, but both nights in Amsterdam are circulating out there on video. Not professional, but highly watchable and extremely enjoyable. It's just great to see as well as hear the boys, particularly in this intimate setting. I'm a big fan of the Dead on video. So many amazing shows out there without official releases despite oftentimes great three-camera set-ups by places like the Capital Theatre in Passaic ('77 & '78 runs) and Duke University in NC (phenomenal '78 show!!!!). In some cases, rights issues are used as the reason for these not being offered as official releases. In other cases, less than perfect video is often quoted as the excuse. But I have to tell you, to be able to watch Jerry doing Pete Townsend-windmills at Duke is worth "putting up" with standard definition, black and white video. THIS takes the music and the history to a whole new level. And the Grateful Dead's body of work is very well represented visually. But official releases still elude us. Heck, the Egypt footage included with the Egypt Box Set was sub-par image-quality wise (and, in many ways, so was the band's playing), but what a thrill to be able to "see" it! There is so much terrific footage out there, certainly FAR more professional than what was released of Egypt. Maybe some day the powers-that-be will truly understand the significance and deep allure of this footage and release as much as possible (again, given the ability to attain the rights to do so). The close-up on Jerry's face during the '78 NC Bertha, Jer's wide grin as his face reflects every note he plays, every emotion that courses through his veins, out his fingers, through the neck of the guitar and out into the hall is magnificent and gives me goosebumps and forces a wide grin of my own each and every time I watch it. Or the Terrapin-> Morning Dew from Passaic '77 just nights before Cornell... Wow...Thanks to the internet, these vids are accessible, but to have them off the original master video tapes mixed with great lossless sound (it's time to start the Blu-ray catalogue folks) would be a Dead Head's wonderland. Here's hoping...