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.
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
That was Beazer's take on a poignant moment late in a second set at the Greek in '88. Our group pretty much lost it, for days. I thought we were living the teller window scene in Take The Money And Run. When comedy competes with your enjoyment of the music, take it as a sign.
While I agree with others that the mix of images in this song can stand on their own, I also think that it carries some meaning. Like any good work of art, though, that meaning is contradictory. It seems to me that the song is about a bunch of seekers and the irresistable urge to wander, to ramble on, even if staying put might be the wiser choice. The characters in the story want to climb the walls and seek the greener grass, even if there is no such thing. Billy Sunday, Wolfman Jack, Hunter, even Jack and Jill--they're all seeking something outside of themselves and can't just "settle down easy," because there may be something out there that they'll miss.
I second the notion that "Weather Report Suite" would be a great song to look at next!
i love the mondegreens, and i have some great examples! a dear friend acquired an audio cassette of "In the Dark" while participating in the Seoul Paralympics in 1988 & it included the Korean English translation... it is hilarious!
Some of the best comes from Hell in a Bucket:
Now I'm a sweet little sucker pretender
Somehow Renny got hot as he gets
With her black leather clothes box suspenders
Her jet and her whip and her pet
We know you do reincarnation with a rubber that's caught in the grate
And we know how you love your ovations
And the z-rated scenes you create....
When Push Comes to Shove:
Shaking in the forest what have you to fear
Killing baby tigers that punch you in the ear...
Shaking in the desert where for do you cry
Killing baby rattle snakes that punch you in the eye...
Shaking in the bedroom covers on your head
Cringing like a baby with your head beneath the bed
The phantom in the closet scratching at the door
And he just missed the killing you saw on the floor
& they go on & on... i think i sent these to Robert Hunter years ago... they are too classic! & i know i've heard the recording where Jerry sings "Wake up to find out that you are the SIZE of the world" :)
on a side note, i remember standing in line with you at the Warfield ? or somewhere in SF & you enlightened us all to the Elmer Fudd version of dead tunes...... fun!
keep on twuckin'...
There is just something funny about this song. in fact, i think it was one of the songs i had difficulty "getting" as i got into the band. dave, i think you're description of the music was spot on. it's slow shuffle rock and roll with ragtime seemed almost too slow at first, and the lyrics are a, dare i say, dylan-esq hodgepodge of images from an era of americana earlier then mine that i had trouble connecting with. it wasn't until i saw the song performed live (a familiar story to many, no doubt) - granted as a post jerry head, it was by the other ones/the dead, ratdog, or phil and friends, that i "got" the sing along quality of the lyrics, and how the song could lift the room as it reached it's peak with everyone happily along for the ride.
After those experiences i began to study and learn the lyrics, but i never did take too much meaning from them, or look too hard into them for a meaning. i just took them as what was stated earlier, a mishmash of images from childhood nursery rhymes (jack and jill), to things that scared them (mary shelly/frankenstein - jerry did love scary movies and stories), to nods to pop culture that surrounded them (crazy otto/wolfman jack). it's almost as if it's an inside joke, or a poetic play on conversations hunter and jerry had, just as lyrics with great phrases: "pace the halls and climb the walls, and get out when they blow", "clank you chains, count your change, and try to walk the line" are favorites of mine.
so i guess, in answer to one of your questions, i prefer to let the lyrics wash over me invoking that old mental kaleidoscope so i can apply or ponder meaning to the images as they come, or not, and just enjoy the ride to the song's peak which has one of the great "hunter-isms" in the band's catalog: "the grass ain't greener, the wine ain't sweeter, either side of the hill."
if anyone hasn't heard it, on 3/26/73, Wolfman Jack does the band's introduction for the second set, and they oblige by opening with a Ramble on Rose.
As I slipped on my headphones this morning and started with disc two of the new Dave's Picks, I was just hearing the beginning notes of ROR when I stopped in to dead.net to see what was going on. Serendipity for sure.
I think of ROR a little like I think of that Billy Joel song, "We Didn't Start the Fire" in that there are just a whole lot of references to people in history and it doesn't really mean much. And to tie into a general Long Island theme, not only was Billy Joel from the next town over (Hicksville, NY), but my home town growing up (Jericho) was not only mentioned in ROR, but Wolfman Jack's daughter went to my high school. I did always think that there was a little roar in the audience when the Dead would play "just like Jericho" at Nassau Coliseum, but that could just be me. ;-)
OK, a pretty nonsensical post about a fun, but ultimately nonsensical song.