Greatest Stories Ever Told - "Ramble On Rose"
By David Dodd
First, just a little background: “Ramble On Rose” was introduced on Tuesday, October 19, 1971 at the Northrop Auditorium at the University of Minnesota in Minneapolis. The show is noteworthy for a number of reasons. First performances at the show, besides "Ramble on Rose," included "Comes a Time," "Mexicali Blues," "One More Saturday Night" (on a Tuesday!), and "Tennessee Jed." It was also Keith Godchaux's first show. "Ramble On Rose" occupied the #2 spot in the second set, following "Truckin'," and preceding "Me and Bobby McGee."
Numbering the song among his favorites, Robert Hunter stated in an interview in Relix that "'Ramble on Rose' is a particular favorite -- there's something funny about that song."
In David Gans's Conversations with the Dead, Hunter says: "I think ‘Ramble On Rose’ is the closest to complete whimsy I've come up with. I just sat down and wrote numerous verses that tied around ‘Did you say...’ “
“Ramble On Rose” also happens to be the song that set me off on my little adventure of annotating the Grateful Dead’s lyrics. When I first started the project, I was working as a reference library assistant at the Fremont Main library in Alameda County. I was living in Oakland, commuting via BART the 30 miles each way every day to Fremont, and going to as many Dead concerts as I could. Those were some good days — I was learning about what I wanted to do with my life (become a librarian) and at the same time, seeing the Dead or Jerry with his various bands on a regular basis. The Greek, Frost, Henry Kaiser, SF Civic, Oakland Coliseum Arena, Keystone Berkeley,Cal Expo….
Where was I? Oh yeah. “Ramble On Rose.” Something about that song… I still find new stuff in there all the time. One of my biggest revelations about the song was actually from a mis-hearing. It was at the closing of Winterland show, when I clearly heard Garcia sing, “Buckle up, and buckle down, do yourself a favor.” Not the real words (and not what Jerry sang), but definitely of some import to me at the time. Hmmmm. That would be a fun component in any and all of these blog posts and subsequent conversations — what did you hear, as opposed to what the words really were? American writer Sylvia Wright coined the term “mondegreens” to refer to these creative mis-hearings. Feel free to chime in at any time with your own! (“Wake up to find out that you are disguised as a squirrel...”)
So. “Ramble On Rose.” And I am rambling. It’s a predilection of mine, to go off on tangents, and I’ve found it serves me well. I like to make strange connections. I started making the connections in this song simply by trying to figure out who all and what all was being talked about by Robert Hunter. That guy! You could be standing there, innocently listening to a rock and roll song, and BAM — he hits you right between the eyes.
I think my first foray into this kind of fact-finding was when I decided to look up the names in the song, starting with Billy Sunday. I’m not going into the whole annotation thing here (just search online for “annotated Ramble On Rose,” except to say that I was pretty surprised by the cast of characters and who they turned out to be. I mean, a tent preacher who got his start as a professional baseball player? A ragtime piano player from the 1950s named Crazy Otto? The legendary DJ Wolfman Jack? This song, if you put images with all of it, would look something like the cover of Sgt. Pepper’s Lonely Hearts Club Band. A highlight of my work on the song was receiving a phone call from Johnny Maddox (aka Crazy Otto), who was still playing ragtime for a living, at a place in Durango, Colorado. We had a great conversation.
The same is true for all of the musical references in the song. I did a medley once with David Gans for his radio show featuring snippets of all the various songs and types of music in “Ramble On Rose.” Amazing! Ragtime (100 verses thereof), Irving Berlin (“leader of a band,” from ‘Alexander’s Ragtime Band’), the blues (“Mojo Hand”), nursery rhymes (Jack and Jill), gospel (Jericho), country (“I Walk the Line”), jazz standards (“Ramblin’ Rose”), folk (“Green Green, the Grass is Green”), and more. Here’s a link to streaming audio for that musical collage, plus some verbal commentary… with thanks to David Gans:
Top left going clockwise are Mary Shelley, a “Crazy Otto” album cover, Billy Sunday, sheet music cover for “Alexander’s Ragtime Band” by Irving Berlin, Wolfman Jack.
So, here’s my question, now that I have run to ground all of the song’s references—historical, literary, musical, etc. And that is: can anyone get a handle on this song from a “meaning” point of view? I do love hearing personal interpretations, and Hunter has made it clear over the course of a number of interviews that he will not comment on a song’s “meaning” because that would shut down the ability of each of us listeners to construct our own meaning. It would be fun, and enlightening, to hear just what you take away from this particular song.
Is the narrator singing to someone who calls herself “Ramblin’ Rose”? Is the line about singing “a hundred verses of ragtime” a threat or a promise? Who is the leader of the band mentioned in the song? Or is that a metaphor? What is meant by the series of “just like” comparisons?
Or do you prefer to let the lyrics wash over you, invoking a mental kaleidoscope of images and music? I like to think that the curious structure of the music Garcia wrote for these words is an answer, or a complement to Hunter’s hodge-podge—it’s an unclassifiable amalgam of ragtime, shuffle, slow rock and roll, and who knows what all else—opinions?
My online annotation of the song includes an actual analysis of the lyric’s prosody—its rhyming and metric components, as follows. Useful? Perhaps not, but kind of fun:
The song lyric is structured in trochaic rhythm, with paired verses consisting of two lines of triameter, one of quadrameter, and another of triameter, for a total of 13 strong feet (!) per verse. The verses' rhyming pattern is A, B, C, [C], B; with the bracketed [C] being an optional internal rhyme: halls, walls; chains/change; and plush/flush. There are seven verses, with the first six in pairs. The final verse stands alone, carrying into the final chorus.
The chorus' rhythm stays in trochees for the first line of five beats, then switches to dactylic quadrameter for the second line, and a punchy single dactylic line of two beats to wind up. The chorus contains no rhymes. It is repeated three times.
The bridge is less easy to pin down, moving from iambic to trochaic to dactylic rhythms. It similarly dispenses with any firm rhyming pattern, relying solely on the assonances contained in "ragtime" and "county line." The bridge is repeated twice.
This is one of those Grateful Dead songs that generates a lot more questions than answers. And I look forward to hearing everyone’s thoughts! Chime right in.
What I always found interesting about this one is near repetition of "Ramblin' Rose" as "Ramble on, Rose" in the chorus. In most readings of these lines, there's a functional shift between the two terms; "Ramblin" is understood to be an adjective, while "Ramble" is understood to be a verb. Along with this adjective > verb reading also comes the question of person: "Ramble on, Rose" then is an implied second-person; this is direct address, even though the word "you" is not spoken. But this line can also be read without the functional shift; "Ramble on" can be interpreted as an adjective, in the sense that the Rose in question has been rambled upon; at least that's how I remember hearing it a few times back in the day. I don't know; maybe it was the doses, but then there's the etymology of the word "ramble" to consider:
Like many of Hunter's songs, Ramble sounds to me like a kaleidoscope of Americana. I don't hear so much of a "meaning" here as in a linear story but a jubilant stew of American cultural references. It's designed to feel something like flipping through news channels detailing different points in American history. Most (if not all) the characters in the song have some importance in the history of American culture, and Ramblin' Rose herself seems about as independent and free-spirited as they come (Ramble on Baby!) and what exemplifies most people's perception of what it means to be "American." (Although I must note that Mary Shelley was English, but Frankenstien had as much impact on American fiction as that of any other country.)
That's not to say that it's supposed to be patriotic or anything like that, just a stream-of-consciouenss tour of different facets of the American cultural experience. It encapsulates some of the same themes used in U.S. Blues, albeit with fewer metaphors. (Billy Sunday, P.T. Barnum, Crazy Otto, Charlie Chan)
Speaking of misunderstanding lyrics, in Loser I've always heard "Don't you push me baby, 'cause I'm all alone." I interpreted it as an expression of the character's desperation but "holding low" reveals much more about his posture int the card game.
I always thought it might be refering to someone who is engaging in nonsensical chatter after drinking too much kool-aid, has reached their peak and Hunter was cautioning them about the downside of the trip?
Speaking of misheard lyrics my lady friend thought for the longest time that the lyrics to Friend of the Devil said the second reason why I cry away each lonely night was because the
......second one is "prison bait and the sheriff is on my trail!"
On 'Deal', I like to hear "I hate to leave you sittin' there composin' loathsome blues" (loathsome instead of lonesome). I think there's a chapter on this 'misheard lyrics' theme in a book called Tell Me All That You Know by Brian A. Folker.
I heard the same words to Black Peter!
somehow my wife tells me that she believed through the entire 80's that big boss man was... are you ready...
big ball of string
...i know its crazy
now i thought for years that "Annie Beauneu from Saint Angel" was
anyone knows from Saint Angel and it still sounds like that to me
i also thought (like another poster) that it was flashin my keys down on main street and would have thought so for much longer but i had the opp to read truckin lyrics early on
how bout this... wake up to find out her (his) thighs are the size of the world
Thanks to all for your contributions, memories, mis-hearings, fun weird translations, and all. "Ramble On Rose" contains a universe, I think. I will go into more detail about my Elmer Fudd impersonation if and when we get around to "That's It for the Other One." But be prepared, it could change the way you hear the song forever...and not necessarily in a good way.
I am glad to have had the synchronicity of the "Ramble On Rose" having appeared on the new Dave's Picks (volume 5)! That whole set is absolutely wonderful.
And how great to hear that Wolfman Jack actually introduced the band! I did not know that. I'll have to track it down...
As to interpretations, I guess I find it reassuring to hear from so many of you that the kaleidoscope of images and associations conjured up by the song make us all arrive at our varied destinations in such a wide variety of ways. If that makes any sense at all. ("It's a hand-me-down, the thoughts are broken...perhaps they're better left unsung. I don't know, don't really care...let there be songs to fill the air.")
There's a great (if often hissy, in my experience, as it was much recorded off the air) live recording of Hunter at My Father's Place in NYC (I think) in 1978. It has a very upbeat ROR, among many charming features.
I absolutely love the line. "The grass ain't greener, the wine ain't sweeter either side of the hill" One of those metaphysical "be here now" statements to filter my life's choices thru. Its the drug to creativity, imagination, & visualization, always wanting more, knowing, its never enough!
Feels like it might be alright