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.”)
Sharing many of these with Terrapin Sedation & JacktoldAlthea, I was lucky enough to catch ~
Box of Rain @ Hampton 3-20-86
To Lay Me Down @ Hampton 3-27-88
Ripple (electric) @ Cap Center 9-03-88
Loose Lucy @ Cap Center 3-14-90
Easy to Love You @ Cap Center 3-15-90 (Revolution, as well)
Black-Throated Wind @ Cap Center 3-16-90
and the first east coast New Speedway Boogie @ Cap Center 3-17-91
Plus the Stir It Up & So What bits at Hampton '88, the rare (2nd ever?) Gloria at Richmond 11-01-85, the 2nd Hey Pocky Way @ Cap Center 9-12-87, an Attics encore Nassau 3-30-90, and, at my very first show, the (3rd?) Cryptical at Merriweather 6-30-85.
So I feel pretty blessed, though I could've seen Casey Jones on 6-20-92 if I hadn't decided to sit that year out from RFK, and if only I hadn't have been so wiped from the Hampton road trip (and needing to return to classes), I'd have attended the Spectrum 3-24-86 ~ where I'd have caught the final Lost Sailor, the 2nd (and greatest, IMO) Box of Rain, and two songs I never did see, Alabama Getaway & Midnight Hour. But like I said, I can't complain. Even if the Warlocks stand was the first Hampton stand I'd missed in four years (but I was recovering from pneumonia anyway, couldn't possibly have gone).
Gotta say, the Further show in Eugene last September paid some great gems: the first Lost Sailor I'd seen since Richmond '85, and all these that I never saw the Dead do: Here Comes Sunshine, On the Road Again, Passenger, & the Golden Road. The Dead doing Alligator -> Caution at at the Gorge in 2003 made my year (Tomorrow Never Knows was wonderful, too), and New Year's that year yielded Stephen/William Tell, Born Cross-Eyed, and Mountains of the Moon.
But as for that mystique that Blair talked about, hands down the most overwhelming moment I ever witnessed was Box of Rain. Nothing (out of my experiences) could compare to that one. No one could believe it, it came out of nowhere. I still remember Jerry and Bob smiling at each other while Phil was singing.
...hearing Abbey Rd.
Werewolves of London. I think it was at UMass in the Spring of '78. All the boys howling is something I won't forget.
Seein' Monkey (electric) in LA on 2/12/89 with Dylan was un-freakin-believable! Practically lost my mind. Great version, too. Just outa nowhere, WHAM! Loved it and rocked out really hard. Encore on 9/3/88 Capital Centre of Saturday Nite>Ripple (electric) pushed us floating out the door wondering why we were to be so blessed that nite, but "don't really care", we just "let there be songs to fill the air". A magical moment fer sure.
And while not present for a breakout as such, and at the risk of heresy, I'm not above admitting that I've never been much on Lost Sailor. Caught it a few times in 79-80 and distinctly recall thinking "this just isn't doing it for me, and I don't think I like where it's heading." Definitely the low point of the RCMH shows I went to. Would love to report that it's grown on me, I really would, but I'm not big on lying. Having seen Furthur do it a couple of times since still leaves me feeling the same way about it that I do about Corrina - just another 10 minute time sponge. But it's all good. All the wonderful nuggets like Cream Puff War at Gelston more than make up for it.
Conversation is always more interesting than recitation, so speak your mind and not someone else's.
Among my live show attendances, hearing and seeing Phil's band stomp through Pride of Cucamonga in New Haven (could have been the late 90s I dunno) was ultimate joy. Seeing Hunter a few times after Garcia passed away, and that show, was the closure I needed on the Deadhead life.
The one and only GD show I ever attended, Stockholm Oct 13 1990, saw the Swedish breakout of EXACTLY EVERY TUNE! Isn´t that crazy or what?
I couldn't be happier with the way Furthur has chosen their lists. This is as much fun as I've had on this sight in a long time! Breakouts are the greatest, I suppose, if they get pulled off real well. It sure can lead to things being more memorable. My greatest breakouts would be these, maybe forgetting one or two! First "Touch of Grey", cap centre '82 (frightening....it's a long story),...Help-slip, hampton '83 (Very cool!)...crazy fingers, richmond '83 (just a year, but a sweet surprise!)...Good night Irene, new years '83.....first "Do it in the Road" merriweather '84 (MONSTER SHOW)...smokestack lightnin", worcester '84(another MONSTER SHOW), first runnin shoes/tons of steel/daytripper, new years 84...and I'm gonna have to do the rest later 'cause the breakouts I missed in '85 are too depressing!
What breakouts do you want to hear?
I always wanted to hear the GD play Magic Carpet Ride. Even a lengthy instrumental into something like Music Never Stopped would be a mindblower.
Note to DGans.....feel free to work that tandem into the rotation.
Admit it. The roof would come off if Furthur played Day Job. And I bet they do.
And for some reason I was humming Push Comes to Shove today. I think someone, somewhere is rehearsing that novelty.