Greatest Stories Ever Told - "Sugar Magnolia/Sunshine Daydream"
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!)
Did anyone besides me read the wonderful novel by Jennifer Egan, A Visit From the Goon Squad? There were a lot of quirky wonders in the book, but one that stands out was the quest by one of the book’s characters to find all the big pauses—moments of silence—in popular music.
She never mentioned my favorite: the space between the end of a live performance of “Sugar Magnolia” and the commencement of “Sunshine Daydream.” It could be a simple countdown, the length of a set, or longer—as when the band waited a week between the two segments so that they could follow the concert they gave the weekend of Bill Graham’s death with the coda a week later at his to open memorial concert in Golden Gate Park. I thought that was breathtaking.
Everybody’s favorite New Year’s eve midnight tune, “Sugar Magnolia” is mostly a lyric by Robert Hunter, with several verses noted as being Bob Weir’s contributions. The music is by Weir.
In an interview featured on the Anthem to Beauty documentary, Weir talks about the song’s transition from vinyl to the stage, saying something along the lines of it going from a mellow sort of country-ish tune to a “balls-out rocker.”
I just participated in the one-night-only screening of the new release of the Veneta, Oregon, concert from 1972, aptly entitled “Sunshine Daydream,” given the atmospheric and other conditions. Apparently, by the time they played the song at the concert, it was too dark to film any more, so the song itself doesn’t appear in the movie, despite the title. But I am very much looking forward to hearing it in context on the CD release coming up, with Jeffrey Norman’s fine remastering that serves the live sound of the band so well.
“Sugar Magnolia” was released on American Beauty in November, 1970. It was first performed live on June 7 of that year, at the Fillmore West in San Francisco. It was extremely solid in the live repertoire from then on, being played a total of 596 times, with the final performance at their final concert, on July 9, 1995, at Soldier Field in Chicago, where it closed the second set. From what I can tell, that makes it the most-performed original song in their entire repertoire, and only the second most-performed overall, following “Me and My Uncle.” (And not counting Drumz.)
The New Year’s Eve tradition of playing the song at the stroke of midnight is less than straightforward. Looking at the DeadBase X listings, it appears that it was played every year in which the band played a New Year’s Eve show from 1970 through 1980, but then in 1981 it was missing in action. It reappeared the following year, but in 1985, once again—nowhere to be found! I was at that show, and recall watching Phil Lesh react in horror (mock horror?) as Bobby launched into “Midnight Hour” at midnight, instead of “Sugar Magnolia.” From then on it was hit or miss. A no-show in 1986 or 1987, but back in place in 1988 and 1989. Gone in 1990. Back in ’91. And that was it.
However, at the Dodd household, you can count on its being played every New Year’s Eve.
Back in January, I started this series of posts with a piece on “I Need a Miracle,” which bears some similarity, thematically, to “Sugar Magnolia.” (Another song I place in this category is The Band’s “Cripple Creek.”)
I’ve gotten into a couple of arguments over the years about this song. I have thought of myself as a feminist for a long time, and therefore I think maybe I have over-thought this song, trying to find a way to make it fit into my world-view. And I feel pretty justified in that. I mean, Hunter is no fool, that’s for certain, and he makes it pretty clear that this idealized Sugar Magnolia girl / woman is “just a daydream.” In other words, as I’ve always read the song, he pokes fun at the whole sexist litany of a woman who will coddle her man through everything. But…is that really how it is sung? I think maybe not.
As always, when you’re dancing up a storm, these considerations are irrelevant. I have more than once been in thrall to a “Sugar Magnolia” of my own, and frankly, we always just grinned our fool heads off at each other during this song—no hard feelings! And when that mirrorball got cranking in Winterland during the song, all bets were off as far as rational thinking went anyway.
Still, I’d be interested in hearing thoughts about the song along those lines. Anyone ever get into one of those arguments or discussions about the misogynist hippie culture, as evidenced by songs like “Sugar Magnolia”?
This song is another one of those that contributes to the ongoing motif, running through many songs, of horticultural references. The magnolia is a family of trees and shrubs, particularly associated with the South in the USA, but you can find them all over. And then there are the rushes—often tufted marsh plants. You could stretch the motif to include violets, since she does come skimming through rays colored like that flower (which came first, the color or the flower?). And, of course, she is blooming like a red rose. So that’s four plants in one song—possibly a record of some kind. Oh wait! I missed the bluebell: five plants. And pines! Six! And willows! Seven! Possibly eight, if the tall trees are something other than pines, willows, or magnolias.
When I wrote the piece about “Let Me Sing Your Blues Away” a few weeks ago, I thought maybe that was the only song about cars. However, there is a car reference in “Sugar Magnolia,” too—the Willys to which she is compared for her capacity to jump. Now, this is one of Weir’s verses, and in the Complete Annotated Grateful Dead Lyrics, I quote Phil Lesh’s autobiography, Searching for the Sound:
The tension between Weir and Hunter finally came to a head backstage at the Capitol Theater when, after an argument, probably about Bob’s addition of a line to ‘Sugar Magnolia’—‘[she] jumps like a Willys in four-wheel drive’—Hunter turned all responsibility for Bob’s lyrics over to Barlow, with the words, ‘Take him, he’s yours.’
But in a way, it’s nice to have that somewhat antiquated car analogy there in the song, and I actually would’ve thought it sounded like a Hunter line, I have to admit. I saw a Willys on the street just the other day in the town where I live, and got to have a fun conversation about it with my son.
So: feminism, cars, plants, rock and roll…your turn to talk! Or maybe someone has a great story about a particularly insane New Year’s Eve. I’m all ears….
This is the song that made me a Dead Head, specifically, Rockin' The Rhein (4/24/72). There is still no more perfect version in my mind. Here's what I like:
* The opening guitar hook - goes on almost a full minute. Unusual. Makes for a nice hypnotic groove.
* The backing vocals are top notch (compare to other E72 renditions, except for the May 4th version, which had supplementary vocals added during production, as it was to be used for the original Europe '72 LP). So yeah, the backing vocals are top notch.
* Billy's drum fill is not the popular rat-a-tat rat-a-tat on the snare, but rather, the snare-tom-tom decrescendo that goes something like rat-a-tatta-tat dum-dum dum-dum-da, as Billy rolls down the toms.
* The "groove" section after Billy's drum fill really catches the spirit of the song, as the main hook is repeated for a few bars, Bobby's Gibson in full bloom, Jerry's Alligator waits a bar or two and then...
* Jerry's playing. Soloing - melodic and timely; not too fast, not too slow. No longer soaked in wah-wah polish, it's just exactly perfect (for the wah-wah washing, he turns it on during Sunshine Daydream, so you WILL get some!) His fills and counterpoint to the main riff are nice too.
* Keith's piano - solid throughout like you've never heard him - just check him out supporting the "breeze in the pines" verse - playing like he's auditioning for the part!
* Sunshine Daydream - Bobby singing it solo is perfect. No Donna. She didn't join in on Sunshine Daydream until after the Europe '72 tour. That is okay with me. I enjoy Donna on a lot, but this is one I prefer without her.
* Zehn minuten Nuff Powser!
Was just reminded of this post and the Bill Graham memorial concerts. It would be pretty awesome if they did something similar for the Fare Thee Well shows...
I think the song is just about the love and appreciation of nature and all the ways it infuses us with wonderment, restores us, and reconnects us -- and promises to do so in the future. It's a personal experience that doesn't require a lover. This came to me as I sang this song on a beautiful spring day on an unhurried walk through the Appalachians.
There's a section of Gloucester on the north shore of Boston called Magnolia. One of the large summer "cottages" in town was rented on occasion, and according to a former owner it was rented for several months by the Grateful Dead one year when they were playing some east coast venues in the late-60s, possibly the summer of Woodstock. It would be interesting to confirm that.
The house faces west, and has the most amazing sunsets imaginable, all different colors, over a cove and crescent beach. Magnolias line the street in town a few blocks away and bloom in the spring. At the time they rented it, there may have still been a massive set of willows on the property, and adjacent to it. In fact, the property has always been called Willowbank.
As a writer myself, I know that writing as a group endeavor would have elements that create an amalgam of the contributors that has nothing to do with the experience of any one of them. This song appears to be a true example of that. But it may have been inspired by their experience at Willowbank in Magnolia that summer in the late-60s.
Here's a link to an essay I wrote on Sugar Magnolia in my Philosophy of Art class a few years ago.
I owned two different Willy's Overland station wagons. The 1948 was dark green, original four banger motor. Then I owned a 1950 jeep wagon with a Chevy six cylinder dropped in. Neal Cassady drives a Willy's station wagon in the book "Big Sur" by Jack Kerouac. I used to think Sugar Magnolia was about Weir's girlfriend at the time, Frankie. Not so sure now. Was at the Fillmore East September 17, 1970. Now that's a four night run for a box-set. Acoustic Grateful Dead, New Riders of the Purple Sage, electric set from the Dead to cap the night. It was called "An Evening with the Grateful Dead".
Cryptical70...How Cool to be able to ask Bob Weir about a song.
How Funny that he didn't remember much!
On the Anthem to Beauty Documentary Weir spends a good deal of time discussing the development of Sugar Magnolia/ Sunshine Daydream.
Your suspicions are correct!
Sunshine Daydream was written by Hunter on the spot in the studio.
He handed Bob the page and Bob immediately sang it.
The documentary also scans-with no explanations-a hand written page of Sugar Magnolia Lyrics which never made it onto the song
When "Sugar Magnolia" made its debut in the summer of 1970 at Fillmore West, the song was missing its "Sunshine Daydream" coda. This June debut sounded very shaky and tentative. Not a very auspicious start for this song. However, the August F.W. versions were a bit better. But obviously something was really missing with the song....
By the time September 1970 rolled around, "Sugar Magnolia" grew its coda. "Sunshine Daydream" was first performed at Fillmore East on September 17th. Prior to the New York City engagement, the Dead had been at Wally Heiders in San Francisco, recording their classic 'AMERICAN BEAUTY' LP.
Although I've never heard how "Sunshine Dayream" was written, I have always suspected that it was worked out live in the studio, perhaps as a jam. "Sugar Magnolia" on its own just sounded incomplete. A few years ago I asked Bob Weir regarding my theory, but unfortunately he said he did not remember. If I ever meet up with Robert Hunter, I'll ask him the question.
I believe you are correct.
Hunter's "Box of Rain"
and David Dodd's "Complete Annotated Grateful Dead Lyrics"
state it the way you did.
"Summer Night Moonlight"
I always heard it the other way;
but this is much better I think too.
Its also very interesting that Bob Weir wrote this phrase.
Its a truly beautiful expression.