Greatest Stories Ever Told - "Shakedown Street"
By David Dodd
Here’s the plan—each week, I will blog about a different song, focusing, usually, on the lyrics, but also on some other aspects of the song, including its overall impact—a truly subjective thing. Therefore, the best part, I would hope, would not be anything in particular that I might have to say, but rather, the conversation that may happen via the comments over the course of time—and since all the posts will stay up, you can feel free to weigh in any time on any of the songs! With Grateful Dead lyrics, there’s always a new and different take on what they bring up for each listener, it seems. (I’ll consider requests for particular songs—just private message me!)
“Don’t tell me this town ain’t got no heart, when I can hear it beat out loud.” [Italics Hunter’s.]
This is a song that wants us to listen, to give things a minute before we pass judgment on them, to check our negativity. I find it a nice pair, thematically, with “Eyes of the World” — it’s telling us to wake up, and consider the possibility that our perception may be as much at fault as the world, when we see only darkness.
“Shakedown Street” is the title track of the studio album Shakedown Street. When I run into this phenomenon, I pay attention. The first studio album for which the Dead used a song title as the album title was Blues for Allah. And the only other ones besides Shakedown were Terrapin Station and Built to Last.
I admit, the first time I heard Terrapin Station, I was a bit taken aback, as were many of my Deadhead acquaintances, by the use of a clearly disco-oriented sound for “Dancing in the Streets.” I think the harsh criticism the Dead came in for as a result had a direct influence on Hunter’s writing of “Shakedown Street.” As soon as the song came out, the first thing I noticed was, once again, the disco beat. But then the words came as an admonishment, and I believed right away that the song was about disco. So much of disco seemed, at the time, like corporate music—music being made more or less by machine—music that “had no heart.” I remember a song by a local band in Davis in 1977, entitled “Disco Tapioca.”
Hunter seemed to be coming right out and saying that we can’t put the Dead into some box of preconceived notions. We had a responsibility, as listeners, to listen harder, to set aside our negativity. Of course, it’s completely likely and possible that Hunter constructed the lyrics for a different audience, perhaps even internal to the band and its circle, but regardless, the words are aimed somewhere in such a way as to make you sit up and take note.
“Shakedown Street” debuted on August 31, 1978, at Red Rocks Amphitheatre. It opened the second set in what appears, on paper, to have been an amazing show. And given the setting of Red Rocks, I have no doubt that it was. And its final performance opened the second set on July 9, 1995, at Soldier Field, in the band’s last performance. In between, it was played on a regular basis, for a total of 163 performances of the song. The album was released on November 15, 1979—more than a year after the song was first played. (The song was released as a single, backed with “France,” at the same time as the album release.) Although I surely don’t know every performance, my own favorite has always been the New Year’s Eve opener in 1984, which strikes me as a monster version. (You can find it on So Many Roads: 1965-1995.)
Where “Eyes of the World” seems gentle in its exhortation, “Shakedown” seems like someone shaking a forefinger at you. There is something edgy about it, and the very fact that Hunter acknowledges the darkness, and says he thinks it may be “from your eyes.” “Maybe you had too much, too fast,” he has Garcia sing. Hmmmm. There’s a line that comes back at me now and then, for sure.
I love the echoes of other popular music in the lyrics. It’s as if Hunter is drawing a direct lineage from Chuck Berry to disco. And from even further back—perhaps to Tin Pan Alley and Broadway—with the “sunny side of the street” line. Here’s Dorothy Fields’s lyric for “Sunny Side of the Street”:
Grab your coat, and get your hat
Leave your worries on the doorstep
Just direct your feet
To the sunny side of the street
Can’t you hear the pitter pat?
And that happy tune is your step
Life can be so sweet
On the sunny side of the street
I used to walk in the shade
With those blues on parade
But I'm not afraid
The Rover crossed over
If I never have a cent
I'll be as rich as Rockefeller
Gold dust at my feet
On the sunny side of the street
Quite a bit in common with “Shakedown Street,” there. And the Chuck Berry echo is captured nicely in the “you can never tell,” refrain, in which I hear “You Never Can Tell.”
If Hunter was establishing this musical lineage (and I truly have no idea whether or not he was—it’s just what I hear…), then it was one meant to legitimize disco, or any other over-commercialized music that had its beginnings in authentic music-making. “Used to be the heart of town.”
Of course, beyond the musical meanings, there is always the fact that you can take almost any old run-down part of town and find vitality in its history. Just take the time to poke around(One of my favorite-ever Dead-related personalized license plates was JUSPOKN. That’s a good side-topic—what fun Dead-related license plates have you seen?)
The song became useful in a number of situations. In particular, when the band first played the Bay Area following the 1989 Loma Prieta earthquake, a friend correctly called the opener as “Shakedown Street,” which didn’t even occur to me. In fact, that concert was a benefit for the Earthquake Relief Fund. Were there other particular “uses” for the song? You may know of some...please chime in!
Lastly, I think it’s really worth mentioning the album cover art for Shakedown Street, by Gilbert Shelton, of The Fabulous Furry Freak Brothers fame. It depicts a run-down, crime-ridden street, based loosely on Front Street, where the Dead’s rehearsal studio was located in a seedy section of San Rafael. (Truthfully, this street was never the heart of San Rafael…) Among the images on the street are a cop shaking down a suspect, a couple shaking their bones on the streetcorner to music (possibly emanating from the open warehouse door—the Dead’s studio?), streetwalkers, and a car filled with some very hairy dudes cruising the avenue. Eventually, the parking lot scene at Dead shows came to be known as Shakedown Street, nicely completing the circle.
I always loved the sense of liftoff from a good live “Shakedown Street” when the crowd would chime in with the “Wooo!”
“Shakedown Street” is one of the more successful Dead songs, in hindsight, and in the long run, at least according to this Deadhead. (Although I must admit to a distinct lack of cynicism on an ongoing basis. Not a very picky Deadhead...)
What’s your take? Favorite performances? Other tales to tell about your experiences of the song? First impressions vs. later takes? License plate stories?
Just gotta poke around...
I posted the following here:
a couple of years ago about what I think the song means. It sounds somewhat like what David is saying above.
In the '70's there were some people who were disappointed in the "new Dead" and criticized them that they weren't as good as they were in the 60's and early 70's. This song is clearly a response to that.
"Town" and "Shakedown Street" = Grateful Dead
"You tell me this town ain't got no heart."
Then: "Maybe the dark is from your eyes", meaning maybe it's your stupid fault that you don't like the new stuff. The hate is coming from inside you, you are projecting that onto the Dead.
"Nothin' shakin' on Shakedown Street. Used to be the heart of town.
Don't tell me this town ain't got no heart. You just gotta poke around."
Meaning nothing good coming from the Dead these days, whereas they used to be the greatest, the "heart of town". But don't give me that crap, just open your mind and listen! Just because it's different, doesn't mean it's no good.
"It's not because you missed out on the thing that we had to start."
This addresses the very often heard refrain from people that were upset they weren't around for the early hay days of the Dead.
Then there is the piece de resistance: it's a disco song! I think they must have did that on purpose as well. Of course they are going to get criticized for doing disco! So they write a song about being unduly and unfairly criticized and they put it to a disco song! FANTASTIC! These boys sure are creative! You gotta love it!
I was leaving a DSO show in Cincinnati, Ohio, probably around 2006-2007, not exactly sure and I looked at the license plate in front of me. It said "FENNARIO." I thought to myself, "Where have I heard that before?" and then "oh cool." It was a nice drive back home that night.
Never understood why people took a negative from that perception. After all, they were a dance band more than anything.
My favorite version of Shakedown Street is the one from 12/31/84 as mentioned in the article. Another favorite is the first set opener Shakedown from Foxboro on July 14, 1990. I'm gonna have to give a listen to other favorites mentioned.
Does this sound thin and weak to anybody but me? Hate to be the negative guy, but c'mon. How long you been going to shows? I mean, if you never saw them before these times-say '8o on-I'm sorry, it's not your fault. If you're fortunate enough to have a frame of reference going back to '70 or before, then I'd be shocked if you thought this was anything but thin, weak and uninspired. As for Shakedown, I always thought it was TOTALLY personal to the city in which it was being played. I always thought of The Haight when I saw the cover art. Just one guy's thoughts.
The fifth time they opened with Shakedown, and the first time in almost two years was a powerful taste of what was to come in the second set - a very spacy and bassy Playin' In the Band trip-let, with China Doll and The Wheel sandwiched between. I saw most of the winter/spring east coast tour, and this show in a very small music hall with excellent acoustics in Cleveland was in my top three with Cornell (UJB encore) and Syracuse (monster 13-song first set) in May. Phil was on that night and his bass stands out throughout the entire show beginning with Shakedown. They used to say "as Phil goes so goes the band." This night was no exception.
That is an awesome Shakedown...
The NFA in the second set with Pete Townsend is also incredible...
Always my favorite. The interplay between Jerry and Bobby throughout the solo section (especially toward the end) demonstrated just how ridiculously good this band could be when they were all on the same wavelength. Jerry never sounded funkier!
I love the Fabulous Furry Freak Brothers and Fat Freddy's Cat... hilarious stuff, I've always been a big fan of his work.
Check it out, y'all.
Great version... The Shakedown from Lewiston Maine, 1980 is another great one!