Grateful Dead

Blair’s Golden Road Blog—New Twists on Three Classic Albums

By Blair Jackson
Three of my all-time favorite albums have gotten revelatory upgrades through new releases. Workingman's Dead and American Beauty are coming out as high-resolution, high-bit-rate downloads through HDtracks, a company run by audiophile record pioneers David and Norman Chesky. And the classic Merl Saunders-Jerry Garcia Live at Keystone album from 1973 appears in an expanded 4-CD iteration from Fantasy Records called Keystone Companions: The Complete 1973 Fantasy Recordings. Yay—I love new old stuff!

Right off the bat, I should mention that the hi-res Workingman's Dead (which is out) and American Beauty (coming November 6) are not precisely the albums that 99 percent of you are familiar with. You may recall that back in 2001, when DVD surround recordings looked like they might be the Next Big Thing (and an important new revenue stream for record companies), Warner Bros. hired Mickey Hart and his engineer in that era—the great Tom Flye—to go back to the 16-track master tapes of those two albums and remix them in 5.1 (front left-center-right, rear left and right, plus a subwoofer channel). It is stereo versions of those remixes—which all but vanished from the planet when the Warners-favored DVD-A format did not succeed—that are now being offered as downloads through HDtracks.


The way most producers and engineers have approached creating surround versions of classic albums is to spread out the instruments within the larger sound field that surround affords, but still stay faithful to the original in all other ways. There's greater clarity because of the increased separation of instruments and vocal parts; greater depth all around.


But this is Mickey Hart! So he and Flye took a different approach. They dug deep into the masters, found parts that had been turned down or ignored and even extended a few songs—“Truckin'” and “Sugar Magnolia” fade later, giving Jerry a chance to shine more. On “Candyman,” Hart and Flye found a little vocal coda with Jerry dipping around the other singers with an inventive line.


“It's beautiful,” Mickey told me in 2001, while he and Flye were making some final tweaks in the studio. “I don't know why it was faded originally, nor do I care. I'm not being judgmental about it. So, I gave it another dB or two, and now you can really hear Jerry pumpin' out there, layin' it out.


“On 'Dire Wolf,'” he continued, “we found a set of vocals that weren't on the album version and sounded great. Bob [Weir] walked by the studio when we were listening to it, and he said, 'Oh yeah, that's the way it was supposed to be …' but it wasn't mixed in.” On “New Speedway Boogie,” backing vocals that are nearly inaudible on the original are a revelation.


There are many more subtle changes—electing not to pan the electric guitar break in “Cumberland Blues” and de-emphasizing one of the acoustic guitar lines toward the end of that tune; giving new clarity and prominence to the organ and piano lines on the back part of “Black Peter”; moving Garcia's wonderful pedal steel line on “Sugar Magnolia” into the foreground, etc.


“This is a new creation, based on the old,” Mickey said. “I try not to overindulge. You can't take too many liberties and be a total revisionist and take it into some bizarre space because you have this itch. There's a certain respect you have to have for the original recording. I think I'm doing this for the right reasons, and I'm trying to let the music tell me what to do. I don't have a real agenda other than making it sound great and making it a real treat for the fans, and, of course, making it a treat for me.”


I've given a serious headphone listen to the HDtracks version of Workingman's Dead and I'm really impressed. I also A-B'd several songs with the regular CD version. Now, don't get me wrong—I love the original, which I'm sure I've listened to more than a thousand times since it came out in '70. It's a nearly flawless work and it's ingrained in my brain. But there's room for another interpretation. Why not?


It starts with crystalline vocals—always a strongpoint of the album. With greater separation between the voices, each is more distinct and it's easier to pick out what harmony Bob or Jerry is singing. The drums are crisper, the subtleties of the acoustic guitars more pronounced, and Jerry's electric runs sound as if you are in the room with him. You might not agree with every mixing decision Mickey and Tom Flye made, but the fact is there's nothing on the remixed version that wasn't on the master tapes; it's just some different choices, both in how parts are emphasized (or not) and in the selection and implementation of reverbs and other mild processing. And though it's not 5.1 surround, it has a dimensionality that approximates that effect, especially on good headphones.


I won't get all techy on you, but the reason hi-resolution digital audio files (in this case 96kHz/24-bit) make such a difference is they literally contain more information than a conventional CD (at 44.1kHz/16-bit). Longtime Grateful Dead sound associate Dennis “Wiz” Leonard told me recently, “If you do the math on 44.1/16-bit, there's so much missing information, our analog brains have to fill in the spaces,” which makes listening “more taxing and less relaxing.” To play back the hi-res files—which can take from several minutes to several hours to download, depending on your setup—you may need to also download a program that can handle that sort of material. I used Media Monkey (which was free). A few others recommended by the HDtracks folks are Amarra, JRiver, and Pure Music.


“With CDs and MP3s,” HDtracks' David Chesky adds, “there's a harshness and all this extraneous garbage you can hear. But with 96/24, it's like you're in the room with the band. It's not hyped and its more timbrally accurate. It's more of an artistic human exchange. It's crystal clear without that etched sound that CDs sometimes have.


"And one of the big reasons is you're not compressing it. You're hearing the harmonics of the instruments and the harmonics of the voice—all these complexities that got swept aside [in 44.1] are there again." And of course there's the spatial aspect. "Think of the Dead as a symphony orchestra," Chesky says. "If you put the trumpets and the violins and all that in the first row, they get pushed together. But if you put the tympani in the left hand corner and the bass is in the right, you can hear all the parts cleanly. Now each musician has his own space in the three-dimensional sound field and you can hear the lines and the parts. It's also more organic-sounding.”


You can check out HDtracks' wide variety of offerings on their web page.


As for the Jerry and Merl box, I've always had a special place in my heart for the original double-album Live at Keystone because I was at the two shows from which it was drawn. How's this for good luck: In July '73, I was living back East, having just finished a semester at Tufts (outside of Boston). My girlfriend broke up with me and I was feeling blue, so I hopped on a plane to visit my older brother, who was living in the Oakland Hills.


Within a few days of arriving, I learned that Jerry and Merl were playing at the Keystone Berkeley. I'd never heard of Merl (they hadn't played outside of California at that point) and never seen Jerry apart from the Grateful Dead. My most recent Dead concert at that point was at the cavernous Boston Garden on 4/2/73, a famously good show I did not enjoy because I was sitting way up in the rafters and the sound sucked.


So imagine my delight when I walked into the tiny Keystone Berkeley for the first time on July 10, 1973, and saw Garcia, Saunders, John Kahn and drummer Bill Vitt on the venue's postage stamp-sized stage about five feet in front of me! I probably knew fewer than half the songs they played, but I was hooked immediately. So much so that I lined up early the next night to see them again. The two songs that hit me hardest were Dylan's “Positively 4th Street” (which I did know) and “Like a Road Leading Home” (never heard of it). But I dug it all.


When the double-album—recorded by Dead associates Rex Jackson and Betty Cantor—came out late in the year, I practically wore out the grooves in the first couple of months. I learned to love “Someday Baby” and Merl's funky “Keepers” and the group's all-but-unrecognizable jam around “My Funny Valentine.” And “Like a Road” was sublime—I still consider it one of Jerry's finest performances. What an album! What a band!


In 1988, Fantasy Records inexplicably released two separate CDs containing the material on the double-album (plus a couple of bonus tracks), and a third called Keystone Encores, with even more unreleased material. All were excellent!


What's cool about The Complete 1973 Fantasy Recordings is that for the first time we get all four sets played on July 10-11, in order. It includes alternate versions of five songs that appeared on the '88 CDs (all good, though none improve on the released versions), and both shows have been remastered. To my ears, this sounds considerably better than the original CDs (it's louder and has more low-end punch). It's been so long since I've heard the vinyl version I can't compare them. Speaking of which, a new vinyl edition of the original Live at Keystone double- album was also released concurrently with the box.


These shows remain the truest snapshots we'll ever get of this lineup—soon, Martin Fierro's sax and flute would be added to the group, irrevocably altering their sound. There's a purity and simplicity to this quartet that I find both appealing and intoxicating. And I'm happy to have an excuse to rediscover this amazing music in a new way.


(Want to win a copy of Keystone Companions: The Complete 1973 Fantasy Recordings? Of course you do! Click here for details.)

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marye's picture
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WRT comments about listening on headphones

Is it the consensus that this is the best way to listen to these versions? Rather than the speakers most of us have?

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Well-put, Sam and Skjellyfetti...

And as I say to every cranky, mean-spirited person who complains bitterly about this or that release... NO ONE IS FORCING YOU TO BUY ANYTHING! I love having so many options, love that there are sonic upgrades. I've bought "Electric Ladyland" three different times--original vinyl back in '68, first CD issue in mid-'80s, CD remaster in the 90s (I think), and I would happily pay to get a hi-res version that sounded truly like the master tapes. If you haven't actually heard what hi-res, hi-bit rate can be like, you really have no idea...

And no one is going to come to your house and take away your beloved original versions of whatever you think is untouchable...So lighten up!

cosmicbadger's picture
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Is it no longer possible

..to have discourse without abuse?

Politicians are not role models.

And once again let's hear it from Jerry.

poetry420's picture
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like your first wiff of coke-via unclesam

"taking breaths and string squeeks and little laughs and finger snaps and whatever was done that day in the studio, you could hear it all." if they wanted little laughs and finger snaps,jerry and the boys would have put that in. and if you can't take some criticism, your the fool- though everyone should read your "engineer speak" that one sentence is classic-little laughs and finger snaps- lol -i will be that ahole all day if its against people like you- i will wear that hat p.s. learn the difference between hate and criticism

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RE: new mixes

OK, I'm sure all of the sideline couch experts have had their say, so now I will have mine. The new mixes are very well done, it is an interesting new take on a classic recording. The amount of information contained in the digital files that was lost from the transcription to analog is astounding. As technology improves, it is the duty of our beloveds to constantly delve furthur into the primordial audio soup that is The Grateful Dead. It is with this dedication and intention that Bear was so adamant about preserving every aural snapshot that was created either in the studio or live. Thank goddess that the organization has had so many talented and dedicated people on the team to continue to work towards exposing these gems, not only for those of us who were inherently part of the experience, but for future generations to understand the power of this amazing and sacred art form. My friend Tom Venom, tells me the story of calling Mickey and holding the phone out over the dock at his summer home on Madeline Island, specifically so Mickey could here the sound of his dock creaking as the waves rythmic polyphonic sound echoed across the bay. Mickey promptly flew up to record these sounds, much like the recordings in the pumphouse that became the background beat for The Greatest Story. So, to all of you so called experts, remember who you are talking about, and be happy that you have the ability to re-listen to a new perspective on an old recording. Or would you rather go back to crackily old cassette tapes that slowed down and sped up?

"All my old pants smell like flatulence"

unkle sam's picture
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can you hear this

Hey, it's just an opinion, like aholes, everyone has one, but until you LISTEN to the remixes, you really have nothing to say except the uninformed opinion that you have spewed here. If one has never heard these remixes, how could one have an opinion, either negative or positive, so let me ask you, have you heard these remixes? Some of us who have ears like to hear the "real deal" and then there are others that mp3's are good enough for, that's ok, but to spread your uninformed hate here is, well, falling on deaf ears. So, no, I can't hear you laughing your ass off, but I can read a post from the unintelligent and take it for what it is, ignorant rambling. Maybe you should put something good in your pipe in the morning, say anything except what you are smoking because it's not good for you if it makes you act like a fool, hey, just my opinion. :)

poetry420's picture
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can you hear this-me laughing my ass off -- REPLY TO UNKLE SAM-

string squeeks and little laughs and finger snaps......you could hear it all. LOL ah man that is priceless- exactly what i was saying-people just don't know when to leave things alone-little laughs and finger snaps-i can't stop laughing-this made my morning wake and bake awesome-thanks unklesam

poetry420's picture
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enough already

just another way of keeping the money rolling in.they did the same thing with jimi hendrix releases.basically the same song on different albums.- “It's beautiful,” Mickey told me in 2001, while he and Flye were making some final tweaks in the studio. “I don't know why it was faded originally, nor do I care. I'm not being judgmental about it. So, I gave it another dB or two, and now you can really hear Jerry pumpin' out there, layin' it out." -----so i gave it another db or 2,what a bunch of crap-people just don't know when to leave things alone.

cosmicbadger's picture
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thanks Blair..

..for looking into this and passing on the news. Let's hope it happens.

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UK release...

I'm told by Norman Chesky that if all goes according to plan, the hi-res " Workingman's Dead" and "American Beauty" should be available in Europe around January 1. Not sure what the hold up is, but that's good news...

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