Blair's Golden Road Blog - Breakout!
A few days ago, someone on the Internet posted a list of Furthur’s spring tour “breakouts”—songs the band had never played onstage before. And it’s quite an impressive group of tunes, a mixture of cover songs by The Beatles, The Clash, Led Zeppelin, Pink Floyd and others; songs the Grateful Dead played in different eras that Furthur hadn’t touched; and one-offs with guest singers … 32 in all (by April 6). OK, more than half of those—16—are from The Beatles’ Abbey Road, which Furthur unveiled, in order, over the first nine shows of the tour (culminating with the whole Side Two suite on Phil’s birthday), but the band still had to learn all of them—yes, even the brief “Her Majesty”—and cast singers for each. What started out as a cute gimmick turned out to be pretty cool, and it was also special when some of that album’s songs later migrated to unexpected spots in the middle of Furthur’s sets—there was Phil bellowing “Octopus’ Garden” out of “Maggie’s Farm” in Hampton, and the choral showcase “Because” drifting into “New Potato Caboose” in Charleston. Nice! Who was more surprised—the Radio City Music Hall audience when Diana Krall sang “Fever” during an encore segment, or the Hampton crowd that witnessed John Kadlecik leading the group through Led Zep’s late-period nugget “Fool in the Rain”? (I know I was more surprised by the latter—surprisingly good version, too.)
Breakouts are one way a band stays fresh. They always inject a bit of life into a set, whether a newly introduced tune is performed beautifully or falls on its face—any of you who followed the Grateful Dead through the years know that it can definitely go either way. And you also know that a song you don’t like the first time you hear it can easily become a favorite as it matures and your own prejudices fall. Conversely, songs that feel alive the first few times they’re played can start to “turn” like overripe fruit and lose that initial pizzazz.
For the first 10 years I saw the Dead—1970 to 1980—it seems like every show I would hear a song or two (or five!) I had never heard before. In the early ’70s, particularly, there was an amazing tidal wave of new songs every tour. But it never occurred to me to actually keep track of what the band played from season to season, so, for instance, I had no idea that I saw the breakout of “Bird Song” and “Deal” at the Capitol Theater in Port Chester in February ’71, and both “Sugaree” and “Mr. Charlie” at the Yale Bowl that summer. I remember other songs that were new to me (personal breakouts!) at those shows that slayed me more.
“Boy, you’re gonna carry
that weight a long time.”
It was that way for me for many years: I wasn’t aware until a couple of weeks ago that I saw the U.S. breakout of “He’s Gone” at Dillon Stadium in Hartford in July 1972. What I remember most from that show was Dickey Betts and the Allman Brothers’ drummers joining the Dead for the last part of the second set. Toward the mid- to late ’70s, as my circle of Dead Head friends increased (and included super-knowledgeable folks like David Gans) I started to become more aware of what the band was doing week to week and month to month, and I also started collecting tapes more seriously than I had been. I remember David got a tape of that first “Terrapin Station” from the Swing Auditorium (2/26/77), but I made the conscious decision to not hear it before I saw the band at Winterland 3/18/77—I wanted to be surprised. And I was! My mind was completely blown by “Terrapin” (my first thought when I heard the jam at the end was that it sounded like Paul McCartney’s “Live and Let Die,” believe it or not!), and I was also fully aware that this song the Dead ended the first set with, “Fire on the Mountain,” was a breakout! (That show remains in my Top Five concert experiences.)
I recall the great excitement that surrounded the introduction of “Touch of Grey” and “Throwing Stones” on the fall ’82 East Coast tour and the thrill of hearing them for the first time, back to back, at Frost Amphitheatre October 9. The following autumn I fretted about the band’s apparent refusal to give us West Coasters the return breakout of “St. Stephen” we so clearly deserved after they played it in Hartford and at MSG. (Then, when they actually did play it Halloween night ’83 at the Marin Civic it was stiff; a letdown for me). A lot of us in the Bay Area developed a bit of an inferiority complex because it seemed as though the breakouts and revivals always happened away from “home,” from “Dear Mr. Fantasy” to “Revolution” to “Why Don’t We Do It in the Road” to “Help on the Way.” (On the plus side, I did get to witness the first “Hell in a Bucket,” the return of “Walking the Dog,” the first “Keep on Growing” and what remains one of my favorite Grateful Dead memories ever—the first “Gimme Some Lovin’” at BCT, 11/2/84. Hey Jerry, how come you never played “Good Lovin’” > “La Bamba” > “Good Lovin’” for us in California? (We can forgive, but never forget!) I’m mostly kidding, but I certainly recall the anticipation so many of us felt wondering when and if the new gems would pop up in Bay Area shows.
To the Dead’s eternal credit, they kept introducing new originals and covers and reviving old favorites until the end, though with decreasing frequency. Remember how excited we were when “Attics of My Life” reappeared after so many years collecting dust? “New Speedway Boogie”? I remember being intensely affected by my first versions of “Standing on the Moon” and “Days Between”—surprise breakouts I hadn’t even heard whispers of. Even at the last Dead show I ever attended, at Shoreline in June ’95, many of us were “waiting” for “Unbroken Chain” to finally appear in California. (It did, and again I was disappointed. Beware heightened expectations!)
The whole post-Garcia era has been so wild, freewheeling and unpredictable that breakouts and revivals don’t have quite the mystique they did during the Dead’s time. That’s not to say it wasn’t totally awesome to hear “The Eleven”—ignored by the Dead for decades—retooled by The Other Ones, or Phil & Friends with Trey playing Pink Floyd’s “Wish You Were Here,” or Furthur doing “Blues for Allah” at Calaveras last spring. Indeed, it’s the sheer variety of the ever-expanding repertoires and the sense that any song could pop up at any time that have helped make this such an exciting time to be going to Dead Family shows. New songs, new covers, old chestnuts cooking again—bring ’em on! I want to hear them all. We’ll have plenty of time to complain about (some of) them later!
What have been some of your pleasant surprises at shows, either in the Grateful Dead era or post-GD? Are you diggin’ Furthur’s recent breakouts?
(For the record, here are Furthur’s spring tour breakouts/revivals: “Fool In The Rain” (Led Zep), “Mexicali Blues,” “The Last Time,” “The Mighty Quinn,” “Chest Fever” (The Band), “Fever” (Peggy Lee; sung by Diana Krall), “Alice D. Millionaire,” “Iko-Iko,” “Might As Well,” “Train in Vain” (The Clash), “Blue Sky” (Allmans; sung by Warren Haynes), “Road Runner” (Jr. Walker; sung by Warren Haynes), “Supplication,” “Eclipse” (Pink Floyd), "To Lay Me Down," “All Along the Watchtower,” and all of Abbey Road (though “Come Together” was not a breakout): “Something,” “Maxwell’s Silver Hammer,” “Oh! Darling,” “Octopus’s Garden,” “I Want You (She’s So Heavy),” “Here Comes the Sun,” “Because,” “You Never Me Your Money,” “Sun King,” “Mean Mr. Mustard,” “Polythene Pam,” “She Came in Through the Bathroom Window,” “Golden Slumbers,” “Carry That Weight,” “The End,” “Her Majesty.”)
2. Ballad of a Thin Man (saw both)
3. Valley Road
4. Maggie's Farm
5. Stander on the Mountain
6. The Weight
1. Ripple/Box of Rain
4. Dark Star
6. Day Tripper
7. New Speedway
8. Keep on Growin
9. Scarlet>Touch>Fire ( not actually a breakout but a cool sequence)
10. To lay me down
That unbroken chain in Tampa April 95 was something sweet, the interlude leading up to the start of the tune, it got quiet, I recognized it right away and stood up and smiled big, a few seconds later, all knew and it was like a wave of sweet goodness that ran through the crowd, and they nailed it, with sound effects intact, Phil's vocal was also very crowd pleasing, then, Visions of Johanna, God thinking about it gives me chills to this day, to great breakouts in one show.
The time I saw them do gimme some lovin' was also a sweet experience, Tampa 88, the first notes of the song started with Brent's organ, and it was all over, the crowd went crazy and they rocked it.
That Dark Star in Miami in 89 will always be my holy grail, who would know that it would happen, they didn't even hint at it the nite before, then, out it came in all It's Glory, Jerry in fine form, sweetness indeed.
The Ruben and Chreise break out in 91 in Orlando was also great, they got write up's in the Orlando slantinel about it being rare and played perfectly. (Which it was) IMO the best version played that year.
It's all good, but when you get to hear one you love and haven't heard before or in a long time is just the thing that makes it more special.
Considering the fact that I only made it to 67 shows, I had a very high batting average when it came to breakouts: Box of Rain at Hampton in '86, the only electric Ripple after 1971 at the Cap Centre in '88, Loose Lucy and Black-Throated Wind back at the Cap Centre in '90, and Here Comes Sunshine at Compton Terrace in '92 were the big ones. There was nothing quite like the excitement of a great breakout; it was one of the coolest and most thrilling things you could experience at a show!
"I'd rather have a bottle in front of me than a frontal lobotomy."
...to see the run at Oakland Col. in Feb. Last song first set. "hmm this sounds like New Speedway, no dont be silly, prolly just some random blues groove for Bobby to howl over. Hey wait maybe it is." Please dont dominate the rap Jack. Holy Shit!!! That was cool.
Busted out In the midst of the Gulf War. One way or another, this darkness got to give.
... at 3/18/77 remains my favorite that I ever witnessed live... Amazing! The St. Stephen wasn't too shabby, either (though short a verse?).
3/18/77 was my first Grateful Dead show. I missed the Who/Dead gigs at Oakland the previous Fall (couldn't find a ride from Sonoma State down to the Bay area), so I jumped at the chance to see them the following March.
My buddies and I got in through a side door that night - dashed in, hunkered ourselves down with our backpacks at the foot of the stage, punched our red dragon tickets and waited for liftoff.
I didn't know much about the band at that point, so I didn't recognize many of the songs. I do remember standing at Jerry's feet during Sugaree wondering how he could rip such sizzling leads on a loping countryish tune. Throughout the show, people kept yelling "Estimated Prophet" - I thought they were saying "profit" and wondered why they cared so much about ticket sales and revenue. But when the played Estimated my mind clicked right in and the melting began. I went to the next level during the "At A Siding" portion of Terrapin Station. But what really sealed the deal - and got a skinny, long-haired L.A. hippie transplant on the bus for life - was the Not Fade Away. They took that jam in places I have never heard before, or since It was like the jam fused with my frontal lobes and permanently altered my neurology. I got on the bus that night, and have never looked back.
Oh, and I must say, I LOVE Furthur. It makes me feel that way I felt - as George Harrison might say - all those years ago.
PS - thank you so much for all your years of writing about the greatest band in the land.
Having a great team of awesome singers probably help as well.
I imagine the next step for Furthur will be a rehearsal to try a hundred guitars and find the most artfully blended tones on stage. I thought the shows I've heard this far sound amazing, but the instruments themselves can use some coloring for a richer, more integrated sound.
They really are the first post-GD ensemble that is taking the original music in a forward, non-nastolgic fashion. Phil and Bob together illuminate the subtle rhythmic and harmonc language that makes the GD lineage unique.
I'm getting excited for this band.
Seeing Steven Stills come out at Brendan Byrne and break into Black Queen was amazing.
Hahahaha! Not feelin' too good myself! (Joe Cocker)
That 'Riot CNTR version of this classic song (03/17/2011) was one for the ages! I still can't believe how darn good that show was... I keep listening and just before I press "PLAY" I wonder if I'm gonna feel differently about that night but it just can't be suppressed.
BTW, "Day Job" (or Dead Job, as I sometimes sing to myself) contains Hunter's lilting eyes in the lyrics and who can resist that? Not me... hahahaha!