Grateful Dead

Greatest Stories Ever Told

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. With Grateful Dead lyrics, there’s always a new and different take on what they bring up for each listener, it seems.

- David Dodd

  • Long-time friend and lyrics enthusiast Mary Eisenhart requested this one—Elizabeth Cotten’s song “Oh Babe It Ain’t No Lie.”

    I’ve loved this song, too, since first hearing it on Reckoning. Its deceptive simplicity, beautiful melody, and somewhat mysterious words drew me in. As happened often over the course of several decades of listening to the Dead, I found myself wanting to know more—more about the song, about the meaning of the words, and about the source of the song. And so, as usual, I was led quite readily into several directions at once.

  • Several times over the course of their career, the Dead would comment, through their songs’ lyrics, on the idea of being a band—and in particular, on the idea of being none other than the Grateful Dead. This is one of them, and many of its phrases seem...just exactly perfect.

  • “Life may be sweeter for this, I don’t know…”

    Think for a moment about how often those three simple words pop up in Grateful Dead lyrics: “I don’t know.” Not-knowing is somewhere close to the center of the lyrics, in so many ways. We’ve danced around that idea over the first nine blog posts—mostly in the form of avoiding any claim to THE interpretation of any given song, but also in terms of being open to what is coming down the road or around the corner (where it’s been waiting to meet you…).

  • This last week, on March 15, Phil Lesh turned 73 years old. When he was a youngster of only 29 or 30, he and Robert Hunter collaborated to write “Box of Rain.” It was a song written to and for his father, who at the time was in his final days. Lesh was driving out to the Livermore Valley (where I grew up!) on a regular basis, and this song came to be during those drives.

  • In a number of communities across the United States this year, entire towns, cities, and counties are participating in the Big Read, sponsored by the National Endowment for the Arts. And of those Big Read participants, quite a few are reading the poetry of Emily Dickinson. Here where I live, in Sonoma County, California, March is Emily Dickinson month this year.

  • In the Bob Weir / John Perry Barlow composition “Cassidy,” Barlow sets himself the task of comparing a newborn baby girl, named Cassidy, with the legendary “Cowboy Neal” who previously appeared in “That’s It For the Other One.” In this case, the comparison is a study in contrasts, even as the two Cassidys intersect in the life of the band. “There he goes, and now here she starts — hear her cry.”

  • Is it possible that “Ripple” might be in every Deadhead’s top five favorite Dead songs list? It is definitely on mine, when push comes to shove.

    Garcia was quoted once, when talking about “American Beauty,” as saying something approximating: “Yep—every song on that album is a winner.” Side two (and I will always think of albums as having two sides) starts with “Ripple.” Side one starts with “Box of Rain.” What a nice pair of opening songs for album sides those two are!

  • I think I have the very best true synchronicity story related to the Grateful Dead. An audacious claim, I know, but just listen to this.

    When I was a student at UC Davis, in 1976 or 1977, in my very first year of being a Deadhead, I was getting ready to ride my bike in to campus from my apartment. I was humming a Grateful Dead song, and hopped onto the bike. Just as I stepped onto the pedals and started pushing, I was singing “Blue light rain, whoah, unbroken chain,” and at that very instant my bike chain snapped.

    Over the years, I’ve heard many more synchronicity stories—I’d like it if you shared yours.

  • Okay, so first off, before we get to this week’s song, I just want to say that today is my birthday. (You can send presents in the form of commenting on this post—that’s all I want for my birthday from y’all.) Being born on Valentine’s Day has been a mixed blessing over the years. It was embarrassing when I was in elementary school, but it came in handy a couple of times later in life, as in when I got down on bended knee and proposed to my sweetheart 19 years ago: she cemented a very romantic episode by saying yes, and gave me the best birthday present ever.

  • 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."

Greatest Stories Ever Told