Disc 1
The first disc contains most of
the set from May 23, 1969. By the way, the reason these shows are short (just
one set each night) is that the Grateful Dead was one of several bands on the
bill, though was the headlining act both nights. There is a brief
introduction – “the best group in the
universe,” indeed! And the band kicks off the show with “Hard To Handle,”
Pigpen on lead vocals. Good, raw, raucous Dead. Man, it must have been
something to see them in the early days. This show was in that period when T.C.
was also on keys, and you can hear his touches early on. (I should point out here that some set lists from this show indicate that two other songs preceded “Hard To Handle”: “Dancing In The Streets” and “Casey Jones,” but I have not heard any tapes with those two songs.) “Hard To Handle” is followed by the
fourth song of the set (the second and third songs are on the third disc), a
nearly nineteen-minute “Dark Star” that gets right into a good psychedelic jam.
Wow, with only one set, the band doesn’t take long to get into some delicious
weirdness (and actually, the second song of the set is “Morning Dew,” but more
on that in a bit). But the band basically seemed to live in that strange realm
at that time, so it makes some sense that they wouldn’t have to work their way
to it. Probably 1969 was the best year for “Dark Star,” and this is a really
good rendition. In these early versions, the band used space and silence really
well. Things could get quiet at moments, and then explode in bursts of
sound, so the highs were much higher. You know? And the song didn’t yet have
the weight, the importance it would soon have among Deadheads, so it all feels
really free. The band was seeing where they could go, where the song would take
them. And here it takes them to some surprising, unusual places. And, man, as
much as the band could use moments of silence, these guys could also get
seriously loud, until the sound seems to be inside your head playing out rather
than inward. And almost immediately after the second verse, the band shifts
into “St. Stephen.” This song, too, would become a favorite of the fans,
probably already was at this point. It’s a strange, complex, compelling and
powerful number, with some fantastic lyrics by Robert Hunter. “Lady finger, dipped in moonlight/Writing ‘What
for?’ across the morning sky/Sunlight splatters dawn with answers/Darkness
shrugs and bids the day goodbye.” And this early version has the William
Tell section, and T.C.’s work is prominent at moments there. “St. Stephen”
leads straight into “The Eleven,” and it all flows and moves so well, as Jerry
wanted it, music with no beginning, no end, no starts and stops, but rather a
continuous ride into some extraordinary world, where we can let go of all
superfluous trappings, of notions of what is supposed to be. The guys deliver
some interesting stuff vocally here too. And then pound and hammer their way
through any remaining walls. What a force this music is! Then suddenly that fun
groove of “Lovelight” emerges. This thirty-minute rendition of “Turn On Your
Lovelight” concludes the first disc and first show. Pigpen began the show, and
he finishes it, the way only he could. The song feels like the greatest party
ever. And, yeah, it has a bit of that hands-in-your-pockets rap, but also a
whole lot of jamming. This is Pigpen’s vehicle, no question.
Disc 2
Interestingly, the following
night the band opens with “Lovelight,” picking up where they left off, because
the whole thing was one continuous party anyway, right? And here the band was
letting everyone know just that (which perhaps was necessary after that weird
introduction, which you need to hear). The band comes out of the gate strong
and ready to jam, though this version is a bit shorter, only twenty-seven
minutes. After a bit of tuning, the band goes into “Doin’ That Rag,” a song
that would be included on Aoxomoxoa a
little later that year. It’s kind of an odd, slightly messy version, but still
enjoyable. “Tell me the
name of the game that you play.” That’s followed by an interesting rendition
of “He Was A Friend Of Mine,” a song that is actually titled “Just A Hand To
Hold,” as indicated on the back of the CD case. This version begins with a bit
of jamming before the vocals come in. But this song for me has always been
about the vocals, and they do some nice blending of voices here on the chorus.
Some of the work on keys and the groove seem to work in contrast to the lyrics.
This version isn’t as sad or heartbreaking as some others I’ve heard. I had a version
on tape that could just destroy you. I can’t remember what show that was from.
The transition from “He Was A Friend Of Mine” to “China Cat Sunflower” is so
smooth, seamless. And there is some impressive, wonderful stuff during this
song. And while we are used to “China Cat” going into “I Know You Rider,” here
the jam gets crazier, more intense, and the song then segues into “The Eleven.”
An interesting journey, to be sure. The band then slides into “Death Don’t Have
No Mercy.” Where “He Was A Friend Of Mine” perhaps didn’t have the emotional
power it could have, “Death Don’t Have No Mercy” definitely delivers on that
level, with Jerry turning in an excellent and passionate vocal performance. And
the music finds some great peaks as well. Ah, listen to the ache in Jerry’s
voice. Fantastic.
Disc 3
The third disc takes us back to
the May 23rd show for a bit, giving us the second and third songs of that set.
Actually, it begins with some humorous complaints about the sound from the band
(“It stinks, Bear”). Then “Morning
Dew” bursts alive with its post-apocalyptic fury and despair. This is a good
version, with some fiery peaks and desolate valleys. “I guess it doesn’t matter anyway.” Wild to have this kind of passion
so early in the show. The band then goes in a different direction with “Me And
My Uncle,” a song that has a slightly heavier sound here than it would later have.
We then go back to May 24th for Bob’s famous yellow dog story, told while
strings are being changed (the CD liner notes indicate this track is from May
23, but from other recordings I have listened to, that’s incorrect). If you don’t know the joke, well, it’s fitting that “Alligator”
follows it. This is a fairly decent version of “Alligator,” and it leads into a
drum solo. The solos by Bill and Mickey were always journeys in themselves, and
this one interestingly includes some vocals at the end, just before the band
moves into a rockin’ “St. Stephen.” This time the band does not do the William
Tell part, and instead goes into “Feedback,” which is essentially the “Space”
of its day, a strange, monstrous instrumental exploration, sometimes harsh,
sometimes frightening. As it drifts off, “And We Bid You Goodnight” emerges
beautifully, delivered basically a cappella, with just a touch of percussion.
And that’s how the show wraps up.
CD Track List
Disc 1
- Hard To Handle
- Dark Star >
- St. Stephen >
- The Eleven >
- Turn On Your Lovelight
Disc 2
- Introduction
- Turn On Your Lovelight
- Doin’ That Rag >
- He Was A Friend Of Mine (Just A Hand To Hold) >
- China Cat Sunflower >
- The Eleven >
- Death Don’t Have No Mercy
- Morning Dew
- Me And My Uncle
- Yellow Dog Story
- Alligator >
- Drums >
- St. Stephen >
- Feedback >
- We Bid You Goodnight
Road Trips Vol. 4 No 1: Big Rock Pow Wow ’69 was re-released on CD
on October 19, 2018 through Real Gone Music.
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