Grateful Dead: "Dave's Picks Bonus Disc 2026" (2026) CD Review

Thanks to my mom, I have a subscription to the Dave's Picks series of Grateful Dead concert releases. Four times a year, a new Grateful Dead show arrives in my mail box (or somewhere in the general vicinity of my mail box, as happened with the new volume), and once a year that show is accompanied by a bonus disc. This year the bonus disc arrived with Dave's Picks Volume 58, a three-disc set that contains the complete show the Dead played on December 18, 1973, and a couple of songs from the December 12, 1973 show too. The Dave's Picks Bonus Disc 2026 contains more songs from that December 12th show at The Omni in Atlanta, Georgia, songs from both the first set and second set.

The disc opens with "Sugaree," which was the second song of the first set, following "Promised Land." Interestingly, some setlists online don't include the first four songs of the show, perhaps basing their list on incomplete audience tapes. Anyway, this is a sweet rendition of "Sugaree," featuring a vocal performance from Jerry Garcia that is wonderfully gentle at the beginning. This song grows in power at the right moments, a song of hills and valleys, and of beauty. The disc then skips to the middle of the first set for "Peggy-O," this being only the second time the band played this song. The first was two days earlier. And again, Jerry's voice is so gentle, so sweet as the song begins. And the track features some really nice work by Keith Godchaux on keys. There is something about this rendition that just feels so good. Then we go to the final song of the first set, a glorious, epic "Playing In The Band." It begins with that wonderful energy, like something opening, like a bright light breaking over us, and then gets into the action of the main theme of the song. But of course the real action is after that, when the band begins to explore other spaces, when the music takes us away from the ground, away from stage, almost like the music somehow separates from the instruments, taking on its own life and choosing its own direction. There is a moment, approximately six minutes thirty-eight seconds in, when the sound shifts to a lesser source. There were a few of those moments on the discs of Volume 58 too. It lasts nearly a minute, and then we are back to the clearer, crisper sound. By that point, it is like the entire universe is dancing, everything the music encounters becoming immersed in the groove, in the energy, in the drive outward. Bill Kreutzman's drumming is so good, and Jerry's guitar reaches to delicious heights, and sometimes turns inward too. What I love is that this version is able to get out there into those exciting places while still maintaining, more or less, a wonderful rhythm that we can hold onto. And then, somewhere around the nineteen-minute mark, the song's main theme is re-established. I always love when the song kicks back into that theme with full force. It's like a welcome back to the earth, but now with whatever knowledge and experience we've gathered along the way, and so our approach to the song is different. There is often more joy. We are not quite the same people we were when this started.

We then skip the first couple of songs of the second set and go right to "China Cat Sunflower," and so we head straight back into interesting territory. After all, there was never any question about what this song was about. Here the structure remains even more intact, while still giving us a chance to open up to different realms. The jam here moves forward with a joyful, delicious force, certain of itself, of its destination. And soon we are into "I Know You Rider," which begins in perhaps a somewhat mellow place, yet with a good amount of heart, and then rises to a great peak on Jerry's "I wish I was a headlight on a northbound train." The disc skips a couple of songs, and moves to "Weather Report Suite," the full song, including the pretty, meditative "Prelude" and a really nice rendition of "Part 1," even if Bob Weir seems to momentarily lose his place. This song feels like it can take care of us, can see us through. "We'll see summer by and by." And then we're into the "Let It Grow" part, the only section that I ever got to see the Dead perform. There is a wonderful power to this piece, and we get a strong rendition here. "And listen to the thunder shout, I am! I am!" What an excellent jam, showing again how 1973 was the best year for the band, as far as live performances are concerned. The band then goes into "Wharf Rat," another of my personal favorites. And this is a striking rendition. Listen to the ache and determination in Jerry's voice as he sings, "But I'll get back on my feet someday." The song at key moments feels like a combination of magic and perseverance. And it gently lets us go at the end.

CD Track List

1. Sugaree
2. Peggy-O
3. Playing In The Band
4. China Cat Sunflower >
5. I Know You Rider
6. Weather Report Suite
7. Wharf Rat

Dave's Picks Bonus Disc 2026 was released in early May, 2026.

Grateful Dead: "Dave's Picks Volume 58" (2026) CD Review

Nothing raises my spirits more than a new Grateful Dead concert recording arriving in the mail. After worrying that the new Dave's Picks volume got lost on its way to me, I discovered it had been delivered to the wrong spot, and today got a chance to enjoy it. And enjoy it, I did. After all, Dave's Picks Volume 58 contains music from 1973, which I still consider the absolute best year for Grateful Dead live performances. This three-disc set contains the complete show the band performed on December 18, 1973 at Curtis Hixon Hall in Tampa, Florida, the penultimate show of the year (the final show had been released as Dick's Picks Volume One). It also contains a couple of songs from the December 12th show in Atlanta. There is a slight re-ordering of songs, with the night's encore placed toward the end of the second disc, just before the Atlanta tracks.

Disc 1

The first disc contains most of the first set. Yup, it's a nice long first set, too much to fit on a single disc. After a moment of tuning, the band opens the show with "Tennessee Jed." This is one of those songs that just always seems to hit the right spot. There is a kind of gentle vibe to this one as it begins, and it soon grows from there, featuring some nice work by Keith Godchaux on keys and some passionate vocal work from Jerry Garcia. It's a good rendition. There is some more tuning afterward, and then Bob Weir leads the band into "Me And My Uncle," with Bob adding "That's me" after the line "I'm as honest as a Denver man can be." There is some stage banter after that song, Bob saying, "As you can see, one of our fellows here is diligently nailing Billy down to the floor." The band then delivers a fun rendition of "Don't Ease Me In" that bounces along, keeping the audience's feet from remaining on the floor for too long. Does Jerry forget which verse he's starting, just for a second? Well, no matter. This rendition has a sudden ending. And the band then eases into "Looks Like Rain," and we can hear some folks cheer as they recognize it. Seems fairly early in the show for "Looks Like Rain," but Bob gives a really good vocal performance here. Check out, for example, the way he delivers these lines: "But it's all right, because I love you/That's not going to change anyway/Run me around/Make me hurt again and again." There are some sweet, pretty moments here too, particularly some of the stuff that Jerry is doing on guitar. And I love Phil Lesh's work on bass, keeping things from getting too light. This is an excellent "Looks Like Rain." "Whole world's turning grey, and it looks like rain."

That rhythm at the beginning of "They Love Each Other" is so catchy, one to get us dancing, and it's allowed to go on a bit before Jerry comes in on vocals. I love early versions of this song, with its bouncy groove, Bill Kreutzman dancing behind the drum kit, and with those extra lines. This is a lot of fun. And then it's suddenly over, and Bob leads the band into "Me And Bobby McGee," delivering another good, moving vocal performance. Everything sounds so good, so crisp, so sweet, and this song ends up another highlight of the first set. Bob then announces they're going to take a moment to fix the piano. The band soon starts "Brown-Eyed Women," another song that always hits its mark. And this version contains some particularly good guitar work. "And the old man never was the same again." A nice gentle ending, too. "Beat It On Down The Line" is next, with like fourteen or fifteen beats to start it. Does the number of beats determine how good a given rendition will be? I bet someone's done a study of it. Anyway, this is a fun, strong version of the song, with some energetic playing. 

Jerry begins "Peggy-O" on guitar, emerging beautifully and sweetly from a bit of tuning, and this is a gorgeous, striking rendition, another of the set's highlights. Everything comes together perfectly here. It's interesting, because, depending on your mood, it's a version you can dance, or least sway to, because of Billy's drumming, or you can close your eyes and drift into a gentle dream of a time gone by. Then the moment "El Paso" begins, some folks cheer. This song too takes us into its particular world, its own story, though this one with undeniable energy. Hearing it, and knowing how things turn out, I find myself still wanting a different outcome for the main character of the song. But of course the end is inevitable, and everything is moving toward that conclusion, even as Jerry's guitar takes us for some delightful twirls. Some odd stuff on piano between songs, like demanding something or other. And Jerry leads the band into "Deal." Maybe it has just a bit of a relaxed vibe early on, but the guitar starts calling down its own energy, creating its own heat, and then everything has to follow that, doesn't it? Jerry starts pushing things vocally too. "Deal" is followed by "Jack Straw," which has a pretty opening, and features some wonderful work on guitar, the music feeling like one final, glorious chance at something grand, if only we can make it happen. I love when the music transports us like that, creating an entire world and placing us at the center of it. This song does it perfectly.

Disc 2

The second disc contains the final two songs of the first set, along with the first chuck of the second set, the encore, and two songs from the December 12th show. The disc opens with "China Cat Sunflower," and you can bet the crowd reacts as soon as it starts, knowing where this song can take folks. And there certainly is a bit of magic here, especially in the guitar, that instrument helping to open the door between this world and another, the band urging everyone to dance straight through. And that's the way we want to enter other worlds, isn't it? There is a joyful energy to the jam, causing even the light to dance. The segue into "I Know You Rider" is seamless, and that song has such a good feel to it. It's great as the energy builds. For a moment approximately halfway through, it sounds like the sound shifts to an audience recording. Still, this is a really good rendition of "Rider." And that's how the first set ends.

This disc then presents the first section of the second set. There is a bit of joking at the beginning. "It's a terrible feeling to step on a flower," Bob says. "If you're going to throw flowers, throw 'em at Bill." After some tuning, the band starts the second set with "Promised Land," shifting things right into gear and getting things immediately in motion. That leads straight into "Bertha," to keep that energy high, keep everything dancing forward, Jerry delivering a strong vocal performance, with some power at the right moments, as well as a wonderful lead on guitar in the second half.  The band then goes straight into "Greatest Story Ever Told," choosing another high-energy song. There is some interesting stuff on guitar in the second half, with a different feel, even as the rhythm continues to rumble beneath it, and then things start to seriously rock. After a brief pause, letting folks cool off, the band goes into "Row Jimmy," slowing things down and taking us into a prettier area, Jerry's voice soothing us. There is some beautiful guitar work here, and I just want to stay in the world of this song a little longer, let it rock us to and fro. This is an excellent version of "Row Jimmy." The disc then moves to the show's encore. "It's gonna be a couple minutes," Bob tells the crowd, "Because a couple of our fellows are backstage taking care of business." Soon the guys deliver a nice rendition of "Uncle John's Band," featuring a delicious jam that takes us quickly toward the outer reaches of the atmosphere. "He's come to take his children home." Didn't we always feel at home at a Dead show?

The final two songs on this disc are from deep in the second set of the December 12th show. (By the way, this year's bonus disc, which arrived with Volume 58, contains more selections from that show.) The band eases into one of my favorites, "Eyes Of The World," a song that always makes me feel good, always gets me moving. The jamming here is wonderful, flying and flowing so naturally in the brightest sunlight early on, and then taking us into more interesting territory in that final jam, teasing darkness before stepping back into the light. And this is 1973, so the jam has the extra section that would later be dropped (and sort of turned into "Stronger Than Dirt"). That song then drops us into "Morning Dew." I love the combination of grief and anger in Jerry's voice on certain lines, which seems exactly right. This is a powerful rendition, even in its quietest, most delicate moments.

Disc 3

The third disc contains the bulk of the second set. "We're going to figure out what we're going to play next," Phil told the crowd. And then when the band eased into "Weather Report Suite," he said, "This is the quiet part, folks." I always loved hearing the band do "Let It Grow," and these early, full versions of "Weather Report" are a treat to listen to. And, yes, as Phil said, it begins softly, in pretty territory with "Prelude." And there is an undeniable beauty to "Part 1." "Like a song that's born to soar the sky." And then the power grows during "Let It Grow." Maybe because it has the chance to grow from the softer, earlier sections of this song, but this "Let It Grow" has an incredible intensity and is just a great rendition. The jam is particularly good. There is a moment toward the end of the track when it seems to switch to an audience recording. Certainly, there is shift of some kind, and it lasts a little longer than the one on the second disc. Usually when something like that happens, Dave Lemieux includes a caveat, but I didn't see one in this volume (maybe I missed it). But no matter, because then we are into "Dark Star," a song that promises an intriguing and often exciting journey. And this version doesn't wait at all before beginning its exploration, dancing in a garden where lights spring up and twist around in response to our attention. And once enjoying a taste of life, they continue to grow and spiral above us, pushing open new doors we didn't realize were even there. And we follow them upward and outward, and we then we are floating on our own, in unfamiliar territory, no clear way back (and who wishes to go back anyway?), and so the only thing to do is look ahead, accept whatever is coming, look the Weird straight in the eyes, with a smile. It seems to work, and a different reality begins bubbling up around us, little beings dancing and popping up into sight and then disappearing again. And then we are back into the song's main theme, and soon Jerry delivers the first verse. That's like eleven minutes in. "Shall we go, you and I, while we can?" And then we are almost immediately placed in a darker, less certain realm, one where atoms are less inclined to stick together. Reality flows into large blue, curious masses, which can't help but overwhelm us, whatever their inclination might be. Other, smaller creatures cry out into the void, waiting for answers. Expecting them? And the answers, when they do come, fly by in unexpected forms and so are largely unintelligible. A beauty tries to emerge, and the band never gets to the second verse.

A short, but good drum solo from Bill Kreutzmann is what does come out of "Dark Star," and it in turn leads to "Eyes Of The World," effectively lifting us out of whatever strange world we'd found ourselves in. This song calls everyone back together, and reminds us of a shared reality, one of our own making. And I love how when Jerry's guitar is flying, so is Phil's bass, though not at the same height. "And the seeds that were silent all burst into bloom and decay." And the jam after the final verse is particularly good, the band cooking, leading to that cool extra "Stronger Than Dirt"-type section. I wish they had kept that in, so that I could have seen the band do it in the 1980s and 1990s. This is an absolutely stellar "Eyes," with an unusual conclusion, leading into "Wharf Rat." Normally you'd think that might be something of an extreme shift, from "Eyes" into "Wharf Rat," but the jam led us here in such a way as to make it feel completely natural, even inevitable. We were ready for it then, ready to be taken into the particular story of this song, to be able to approach it with the right frame of mind. And this is an excellent "Wharf Rat," Jerry delivering a phenomenal vocal performance, pulling us right in at key moments, making us feel like we're privy to confession. And is there another shift in sound sources? Weird. This one is brief, but still jarring. And it's a shame it comes in such a great "Wharf Rat." Keith delivers some nice work on keys. As this song eases out, "Sugar Magnolia" comes alive, always a good choice to wrap up a set. This version features a good jam, building in energy as it goes. Wow, there is something of an extended pause before "Sunshine Daydream." What a great show! The Dead could do no wrong in 1973.

CD Track List

Disc 1

1. Tennessee Jed
2. Me And My Uncle
3. Don't Ease Me In
4. Looks Like Rain
5. They Love Each Other
6. Me And Bobby McGee
7. Brown-Eyed Women
8. Beat It On Down The Line
9. Peggy-O
10. El Paso
11. Deal
12. Jack Straw

Disc 2

1. China Cat Sunflower >
2. I Know You Rider
3. Promised Land >
4. Bertha >
5. Greatest Story Ever Told
6. Row Jimmy
7. Uncle John's Band
8. Eyes Of The World >
9. Morning Dew

Disc 3

1. Weather Report Suite >
2. Dark Star >
3. Drums >
4. Eyes Of The World >
5. Wharf Rat >
6. Sugar Magnolia 

Dave's Picks Volume 58 was released in early May, 2026. I got my copy on May 7th. This release is limited to 25,000 copies (mine is number 17002).

Grateful Dead: "Dave's Picks Volume 57" (2026) CD Review

Hurrah, the first Dave's Picks set of the year has arrived, and it's a good one (are there ever any bad ones?). My copy arrived on February 1st (yes, a Sunday, which is odd), and it includes the show from February 1st, 1978, which was held at the Uptown Theatre in Chicago. It was a fairly short show, at least by Grateful Dead standards, and so a big chunk of the previous night's concert is also included, that show also from the Uptown Theatre. And there is some absolutely fantastic playing here. This is 1970s Dead, after all!

Disc 1

The first disc includes the entire first set, as well as the first song of the second set, the encore (which reminds me of the tapes we used to trade, for often the encore would be placed at the end of the first set cassette) and the final song of the first set from the January 31st show. After a brief bit of tuning, "Jack Straw" is counted off, always a good choice to set the night in motion. This version begins with a sweet, smooth sound, and builds from there. Everything is sounding so clear here. We can picture the eagles filling the sky so easily, picking up the vibe of the music below, for everything seems affected by the Grateful Dead when the band is on. Everything sounds right. And it isn't long before Jerry Garcia's guitar is leading us to some fantastic heights, right up there next to those eagles, and then past them. And that's when the power of this song is at its zenith, before then relaxing again toward the end. After a moment, the band eases into "Friend Of The Devil," which has a pretty vibe. "And if he catches up with me, I'll spend my life in jail." Jerry's voice, his delivery is so moving, and Keith Godchaux delivers some nice work on keys. This is a wonderful rendition, a gentle dance through the night. From what we can hear, it's clear the crowd there appreciates the beauty of this version.

Bob Weir then takes things in another direction with "Mama Tried." Yup, it's Country Bob time. And maybe the sheriff did catch up with Jerry after all. Just listen to him as he joins in on the "I turned twenty-one in prison, doing life without parole" line, the energy to his voice. That leads straight into "Me And My Uncle," itself having a good energy. At this show, Bob ends it with the line, "And I left him lying there by the side of the road." On the first couple of notes to "Ramble On Rose," the crowd reacts. There is almost a false start to this song, and then the song is underway. This is another that makes us feel all is right with the world. "Ramble on baby, settle down easy." It's a song that takes us in its arms and carries us through the fires, upon the shifting earth, and tells us just how it is. "The grass ain't greener, the wine ain't sweeter/Either side of the hill." And we can cope. That's something the Grateful Dead's music gives us. 

Bob mentions some problems with the monitors, and promises to get everything "just exactly perfect." I love the playful banter, and I love that Bob then leads the band into one of my favorite songs, "Cassidy," a song where everything comes together in an extraordinary way. This is a rendition with both beauty and power, and is a good one to dance to. "Let your life proceed by its own design." And that guitar is ready to drive a spike right through the heavens to create a path that we can all travel upon. Wow. Then we get "Sunrise," a haunting and gorgeous song from Terrapin Station, one the Dead played only thirty times, and one that features Donna Jean Godchaux on lead vocals. She wrote this song. I love hearing the crowd cheer as it begins, because there were some fans who did not appreciate her contributions to the band. Jerry then chooses "Sugaree," always one to get the crowd feeling good. And this version has a really good vocal performance from Jerry. This rendition builds a staircase to a better place and pulls us up it during that jam. This jam could drive right through any barrier. And that's how the first set ends. Only fifty minutes or so, but what a great fifty minutes!

But the first disc isn't over. Next is the second set opener, "Samson And Delilah," which has a good energy, and features some delicious drumming by Bill Kreutzmann and Mickey Hart. And Bob is tearing into those vocals at times, which is bloody great. There is a wild energy to the jam, which seems to be driving the band forward. That's followed by the show's encore, which is a cover of Chuck Berry's "Around And Around," with Bob adding some playful stuttering in the verses. They pick up the pace, delivering a great rock and roll jam, before then bringing it down, bringing it in close, almost a whisper, so that they can burst up to that high level again to wrap it up. And the first disc still isn't done. We get the final song from the first set of the January 31, 1978 show, an excellent version of "Let It Grow." There is an incredible amount of power behind this one, and there is some playing that will shake the lightning from those clouds. The drums are dancing, a boogie within the thunder. Incredible. I hope this year's Dave's Picks bonus disc contains the rest of this set if it's even half as good as this "Let It Grow." 

Disc 2

The second disc contains the rest of the second set, picking up with a sweet rendition of "It Must Have Been The Roses." We can feel the passion. And the band lets that song rest with the crowd for a moment, before Bob counts in "Estimated Prophet." This song features some fantastic work by Phil Lesh on bass. And it aims to lift us to some possibly real, possibly mythical spot, "Way up in the middle of the air." The air itself seems to part, and a fresh light comes through. And then the groove carries us through, carries us across, dancing, smiling, ready, relaxed, the air smoothing the edges. It takes these wonderful, bright steps at the end, toward some great new dawn. And soon we find ourselves moving into "He's Gone," a really nice transition. The song begins in a mellow place, soothing us, mellow even in the "Steal your face" line. This is a gentle, touching rendition. Jerry's voice then raises on "Smile, smile, smile." Ah, what else can we do? What else should we do? "Going where the wind don't blow so strange." And the second time around, the "Steal your face" line has more energy. The vocal jam, as usual, is one of my favorite parts, and this time it's beautiful, almost like meditation at first, and is given time to grow and breathe.

The music eases into the "Drums" segment, which has its own sort of meditative aspect early on, with blues and greens and purples bubbling up before something more insistent behind it emerges. Then there is a march of alien figures coming in through the ceiling, through the walls, coming together in a circle, dizzy and delighted on some sort of otherworldly medication. A new beat begins to take form, and it leads to a cool jam. I love how Phil kind of determines the direction then, the song soon becoming a really nice jam, with a positive vibe, skirting the darker territory and creating a great place to dance. Things change subtly, then, bam, we are into "The Other One," a monster that changes each time it is summoned, each time it is encountered, so that it must be approached differently. This time, it is from above, with forces spread wide, approaching simultaneously and driving into the thing with confidence. And then Bob delivers the first verse. The jam provides darker waves to ride upon, not to tame, leading us to stranger territory. Exploring from below, exploring its interior, its intricate construction, caught in the synapses and muscle. Bells are rung to summon reinforcements. But who rung it? It doesn't matter, for all become one, and there is a release of sorts.

The band eases into "Wharf Rat," and we're taken to a specific place where these two forgotten men find themselves. The story that is told grows and pulses and suddenly becomes our story too. "I'll get up and fly away." The jam will help us get off the ground. And the band suddenly shifts to "Sugar Magnolia," a rousing number to get everyone dancing. For we've come through okay, intact, stronger, more joyful, and so the song is a sort of celebration to wrap up the second set. And the "Sunshine Daydream" section tells us just where we are, where we've been heading all along. And it's glorious to be here.

Disc 3

The third disc contains almost all of the second set from January 31, 1978. The only thing that's missing is "Samson And Delilah" (yes, they played that song at both shows). The band opens the set with "Scarlet Begonias," and the moment it begins we can sense the audience is happy, but perhaps that's just because we are. "I knew without asking she was into the blues." There is a magic to this song, in the way it pushes aside all troubles, and a joy penetrates our skin, light coursing through our veins. And Donna's voice is like a sweet breeze against our faces. And Jerry's guitar causes ripples that spread out and come back to meet the next note. A circle is drawn in the brown earth, but nothing is contained within; things can dance in and out again as they please. Pieces like raindrops dance at the edge, existing in two places at a time. There is such a cool, natural transition into "Fire On The Mountain." And this is a fantastic "Fire On The Mountain," the vocals sounding just right. A dance you want to go on forever. 

The band goes into "Terrapin Station," and now we're in for a whole other kind of ride, a journey to those generally unexplored nooks and corners of existence, and "things we've never seen will seem familiar." Flowers burst through articial surfaces, their colors pushing back the greys and the neons. An electric wire rounds everyone up, but then a different wind is what takes us up, and to a land we call Terrapin, a land that is in motion. "A rare and different tune," indeed! "Terrapin" goes directly into "Playing In The Band," and at the start we are solid footing, a land we recognize, can be sure of. The song has a strong puse, a pulse that can shift mountains. Then the band begins to reach out into those darker areas, those mutating spaces. If you look away and then look back, they've become unrecognizable. But that's all right. We see where the smaller pieces fit, entropy in reverse, repearing the broken spaces in between galaxies. And once that's done, creatures enter what is now a dance floor. And we found ourselves in an odder realm, with perhaps sinister elements. But that opens, and we are into "Drums." And soon it becomes clear there is a mass here, a heaviness whose presence is felt by any nearby entity. And then as small elements get nervous, it speaks a single gentle word. Then there is a shaking, a rolling, a rush of many feet. The jam moves with a twisted urgency in any direction, and we step in all directions at once, scratching at the edge of the universe, and soon hearing a response fom the other side.

There are hints ahead, and suddenly everything becomes much more human, much closer, as the band goes into "Black Peter." This rendition features a beautiful vocal performance from Jerry, the song gently rocking us. Ah, cradle or deathbed? This song can take us either direction. This is a tremendous rendition of "Black Peter," and there is then an interesting transition into "Truckin'" to get everything in motion again. Onward. And also to reflect, "What a long strange trip it's been." A great joy bursts forward from there. The jam seems like it could go in a couple of directions, and then surprises us by going into "Good Lovin'," a solid, fun rock number, a party.

CD Track List

Disc 1

1. Jack Straw
2. Friend Of The Devil
3. Mama Tried >
4. Me And My Uncle
5. Ramble On Rose
6. Cassidy
7. Sunrise
8. Sugaree
9. Samson And Delilah
10. Around And Around
11. Let It Grow\

Disc 2

1. It Must Have Been The Roses
2. Estimated Prophet >
3. He's Gone >
4. Drums >
5. Jam >
6. The Other One >
7. Wharf Rat >
8. Sugar Magnolia

Disc 3

1. Scarlet Begonias >
2. Fire On The Mountain
3. Terrapin Station >
4. Playing In The Band >
5. Drums >
6. Space >
7. Black Peter >
8. Truckin' >
9. Good Lovin'

Dave's Picks Volume 57 was released at the end of January, 2026. My copy, as I mentioned, arrived on February 1st. This release is limited to 25,000 copies. Mine is number 16262.

Dogs Run Free Episode 9: Two Friends Talking About The Grateful Dead, Part 2

Following the death of Bob Weir, I got together with my friend Jon Rosenberg to talk about our experiences with the Grateful Dead and Dead & Company. I recorded the conversation for my "Dogs Run Free" podcast. We ended up talking for more than an hour, so I divided the conversation into two episodes. Here is the second part.

Dogs Run Free Episode 8: Two Friends Talking About The Grateful Dead, Part 1

Time got away from me, and somehow more than a year went by since the last episode of my podcast was recorded. I'm still not sure how that happened. But after the death of Bob Weir, it seemed like a good idea to work through the sadness by talking with my good friend Jon Rosenberg about our passion for the Grateful Dead. And to share our memories and thoughts with others who might also be hurting. And who knows? Maybe we can turn a few new people onto the music that we love so much. So this new episode is something of a departure from previous episodes of "Dogs Run Free." This one is Two Friends Talking About The Grateful Dead. Enjoy.

   

Grateful Dead: "Dave's Picks Volume 56" (2025) CD Review

Thanks to my mom's gift of a subsription to Dave's Picks, four times a year a new Grateful Dead concert on CD arrives in the mail. And for the final installment of 2025, two complete shows (or almost complete - the encore from the first show didn't fit onto the second disc) have arrived. That's right, Dave's Picks Volume 56 contains four discs rather than the usual three, featuring a whole lot of great music from the band's short trip to London in the spring of 1981. The band played four shows at the Rainbow Theatre, and this four-disc set contains the first two shows, those of March 20 and 21, 1981.

Disc 1

The first disc contains the entire first set from the show on March 20th. The band kicks things off with "Feel Like A Stranger," always a great choice to set things in motion, with its beat, its energy and with those lines "So let's get on with the show" and "It's going to be a long, long, crazy, crazy night." Everything is sounding crisp and clean and excellent. This is a "Stranger" that will have you dancing and shaking. Jerry Garcia's guitar work is popping. I would have loved another twenty minutes of this song. The band then slows things down with a sweet rendition of "Friend Of The Devil." There is a soothing aspect to this rendition at the beginning, with some nice harmonies, promising it will be okay out there on the road. We can always come home to the Dead, wherever they may be. And I love that moment when the music lifts us to another, brighter level. Jerry's guitar is doing the work there, climbing out of the darkness, and pulling us along too. The band then eases into "C.C. Rider," which works well coming out of "Friend Of The Devil." It begins to grow and build, the guitars leading the way. "And I'm on the run," Bob Weir adds at one point. Brent Mydland delivers some delicious stuff on keys. This is a really good "C.C. Rider."

The band follows "C.C. Rider" with "Althea," from what was at the time the band's most recent record, Go To Heaven. It has an easygoing vibe, with a really good vocal performance by Jerry, the kind of delivery that gives each line a little more meaning, a stronger connection to us. And then the jam has smoe power to it, leading to a definite conclusion, a little exclamation point on it. Things then get fun with a good version of "Mama Tried," which goes straight into "Mexicali Blues," and we feel our worldly cares disintegrating, cast off into the dust and ether. The tone then changes, as the band goes into "Loser," but we are in similar terrain thematically; or, at least, we can imagine the characters from both songs coming across each other at some point, while both are in trouble. Does Jerry forget the lyrics? Not sure, but no matter. There is a good deal of power to his delivery at times, and a wonderful intimacy at other times. Once "New Minglewood Blues" gets going, it finds its own particular energy. "Preacher man call me a sinner, but his little girl call me a saint." Ah yes, it's all a matter of perspective, isn't it? This rendition features some excellent stuff on keys. And then check out that guitar work. This rendition gets better and better, building in energy. "Yes, and it's T for New York City," Bob sings here. Did he forget where he was?

"Candyman" follows. It's interesting how Bob keeps providing energetic numbers, and then Jerry mellows things out with his choices. This is a tremendous rendition, featuring some passionate playing as well as vocal work. Some incredibly beautiful and moving moments. "Hand me my old guitar." And this time Bob chooses a mellower number, with "Candyman" leading straight into "Looks Like Rain." This is a particularly good version of "Looks Like Rain," tender when it needs to be, with power in the right spots, and guitar work that feels like it splashes on our faces like rain. Jerry then chooses a solid rocking number to close out the first set, "Deal." The jam here is great, driving us forward, straight up the mountain, no need to pause to ask for directions. Holy moly! After that, we need a little break.,

Disc 2

The second disc tonains the complete second set (but not the encore). It opens with an audience favorite, "Scarlet Begonias," a fantastic choice to start the second set because of its great joy. It seems to promise a wonderful ride, a celebration everyone can join. And right from the start there is a strong energy to this version, heard especially in Jerry's vocal delivery. It's like they are picking up right where they left off with "Deal." The dance calls down any and all passing celestial beings, who are eager to join, see what this carnal thing is all about. They take on physical form in order to take part, and rejoice in their limbs. Things get looser, and that section just before the band goes into "Fire On The Mountain" is especially good. I love that transition. And now everyone is together, corporeal and celestial, dancing on that mountain top, starlight pouring down on the festivities. Sparks rise up to meet it. Darker creatures lurk at the perimeter, vibrating and peeking in occasionally, but no worries. The beat keeps us all grounded, and the dance itself holds away any trouble or despair, or even longing.

The band then eases into "Lost Sailor," picking its way through stranger, uncertain territory. Ah, have we been too long at sea? But the waves begin to rock us in a way that feels welcoming, warm and familiar. "Drifting and dreaming." That leads straight into "Saint Of Circumstance." "This must be heaven," Bob sings at the beginning. Oh, yes, it often felt like that, didn't it? It's so good we were able to touch a piece of it. "I'm still walking, so I'm sure that I can dance." The music builds to a glorious explosion of light. They take a breath then before beginning "He's Gone." It's a sweet rendition. "Nothing left to do but smile, smile, smile." The beautiful jam can't help but make us smile. "Going where the wind don't blow so strange." There is a wonderful vocal jam at the end, which takes on a spiritual bent at one point. The jam begins to stray into spacy territory, then seems to be heading into "Samson And Delilah." This is fun, and it goes right into "Drums," with some cool stuff on talking drum early on. "Drums" gets into some interesting places, a deep howling that raises the fire spirits from their caverns, rattles them from their slumber, brings them to action. And sooner, much sooner than I would have expected, we are in "Space." It seems that both "Drums" and "Space" have been shortened on this release, presumably because of limited time. Now the forces from above reach down to interfere with reality. Voices from all electronic items chatter, speak in code to each other.

But before those voices can harness us, the band marches into "Truckin'" and all electronic demons flee before its force. "Sometimes the lights all shining on me/Other times I can barely see." And who knows what will happen next? The music makes me excited to find out. It takes us to some interesting places of its own before then bringing us to "Wharf Rat," a damp city night, two characters set apart from the rest, the song taking us into their world. And when one of them says, "But I'll get back on my feet someday," the line speaks for us too. And the line "I'll get up and fly away" is delivered with such determination that no one can doubt the truth of it. "Wharf Rat" leads straight into "Around And Around." And actually the band decides to wrap up the set with a double dose of Chuck Berry rock and roll: "Around And Around" and "Johnny B. Goode." I love how playful Bob gets at one point toward the end of "Around And Around." And the energy is especially high on "Johnny B. Goode." The encore that night was "U.S. Blues," but it is not included here.

Disc 3

The third disc contains the entire first set from the March 21st show. It opens with a good rock and roll number, "Alabama Getaway," which has a strong energy from the start. The band is kind of starting where the previous night ended, and as if to make that even more clear, they follow "Alabama Getaway" with a Chuck Berry song, "Promised Land," going straight from one to the other. And so of course it makes perfect sense that both nights would be included in one volume of this concert series. After a pause, the band gently slides into "Peggy O." This is a pretty rendition, with a tender approach to the playing in that gorgeous instrumental section. This is a really nice version. Bob then leads the band into a hopping "Me And My Uncle," the band taking us to some specific lands in these early songs. That leads right into "Big River," keeping things moving. Bob gets confused about the lyrics for a moment, and the band is then cooking during Brent's lead, and getting folks boogieing for sure. Then "Tennessee Jed" has a good groove. "Rich man step on my poor head." Yes, but it seems we'll be all right. The music carries us through all kinds of weirdness. This song is the blood pulsing through our veins, and it's in our steps on the ground. This is a good, fun version. An unexpected dance of lights plays over each shoulder.

We then get into the blues with "Little Red Rooster," with its own pulse, and those hounds begin to howl. The guitar joins them, and the keyboard keeps both demons and angels at bay, speaking the language of both. The music dances on two levels at once. This becomes a really good rendition, and is followed by "Althea." Yes, "Althea" was played at two shows in a row. (I'm sure John Mayer loves this set for that reason.) The notes from Jerry's guitar are dancing in air, visible, if only for a moment. And I love hearing Jerry sing the Hamlet lines. This version is particularly good then, Jerry's voice itself clearing the smoke, a voice of remembering. Phil Lesh's bass line influences my heart. I feel my heart vibrating with his rhythm. This is a fantastic "Althea," among the best I've heard. Then we get "Let It Grow," approaching us with some urgency. The world spirals around us, and then outward, reaching into the farther stretches of the cosmos. Things fly plast, the dance quickens, giants orchestrating the past and taking pieces from the future to spice things up. Soon things are getting wild, before the music opens and returns to that main theme. But the band is not finished taking us to those outer places, and does so during that cool and exciting jam. They go straight from that into "China Cat Sunflower," delivering us into that magical realm, granting us access, painting the scene and causing it to laugh. The band gently transitions into "I Know You Rider," which itself gains energy soon enough, building in power and featuring some wonderful work by Phil on bass.

Disc 4

The fourth disc contains the second set and encore of the March 21st show. It opens with "Jack Straw," with the energy and power of the song picking up in the second half. There is a bit of a pause then before the band chooses "Ship Of Fools." "And all that could not sink or swim was just left there to float." Jerry's guitar wants to lead us away, but we don't get too far, spiraling around above, looking down at the action. And from there we find ourselves very close to a precipice, but the waters soon calm again and the song gently concludes. After a moment, the band goes into "Estimated Prophet," and now things get even more interesting. The band stretches out on that groove, but it is Jerry's guitar work that makes this version something special. The guys begin to reach for stranger territory, different places. And so when "Eyes Of The World" starts, it feels like a shift in directions, that familiar groove rising to take over, to lead us into a brighter spot, a place of yellows and greens. There is an insuppressible joy to this song. The jam takes on an unbridled energy earlier than I would have expected, and the jam after the final verse soon shows hints of moving toward "Drums." That section leading to it is wonderful, and it actually builds again before going into "Drums."

This "Drums" first grooves on a good, fast beat before going into a bit of darker, odder territory. But even the most fearsome of creatures wants to play. At least for a moment. It is not a very long "Drums," but it is twice as long as the "Drums" on the second disc. I think a little is still cut from it, but not nearly as much as from that earlier track. Same goes for "Space," which kind of creeps up on us here, adjusting our frequency to its own, and then playing Earth's history back to us but dubbed in an alien tongue. A giant tunnel spins around us, but we focus on the groups of pipers moving toward us from the other side. And we find ourselves at the beginning stages of the party that is "Not Fade Away," This version begins in a delicious, funky place, with some slices of blues too. The fantastic opening section is somewhat different from what the band often did with this song. Then the familiar explosion leads to the vocals. This song promises the party will continue. This version contains a cool jam that doesn't feel at all like "Not Fade Away," and gets bluesy when the vocals come back, which is interesting. That song leads into a wonderful rendition of "Black Peter." We feel we are in the room, by this man's death bed, and at the same time imagine our own day of dying, hoping a couple of friends will be there, even if it's just a rehearsal and we all have to reassemble the next night. The band then wraps up the set with "One More Saturday Night," ending with a solid rock and roll number. The encore is "Don't Ease Me In," a fun song to finish off the night.

CD Track List

Disc 1

1. Feel Like A Stranger
2. Friend Of The Devil
3. C.C. Rider
4. Althea
5. Mama Tried >
6. Mexicali Blues
7. Loser
8. New Minglewood Blues
9. Candyman >
10. Looks Like Rain >
11. Deal

Disc 2

1. Scarlet Begonias >
2. Fire On The Mountain >
3. Lost Sailor >
4. Saint Of Circumstance
5. He's Gone >
6. Drums >
7. Space >
8. Truckin' >
9. Wharf Rat >
10. Around And Around >
11. Johnny B. Goode

Disc 3

1. Alabama Getaway >
2. Promised Land
3. Peggy-O
4. Me And My Uncle >
5. Big River
6. Tennessee Jed >
7. Little Red Rooster
8. Althea
9. Let It Grow >
10. China Cat Sunflower >
11. I Know You Rider

Disc 4

1. Jack Straw
2. Ship Of Fools
3. Estimated Prophet >
4. Eyes Of The World >
5. Drums >
6. Space >
7. Not Fade Away >
8. Black Peter >
9. One More Saturday Night
10. Don't Ease Me In

Dave's Picks Volume 56 was released in early November, 2025. My copy arrived on November 3, 2025. This release is limited to 25,000 copies. Mine is number 15181.

Just Like Crazy Otto...

If you are a Grateful Dead fan, then you know the line "Just like Crazy Otto, just like Wolfman Jack" from "Ramble On Rose." Well, we all know who Wolfman Jack is, but we might not all be familiar with Crazy Otto. His real name is Fritz Shulz-Reichel, and he was a pianist and composer. Earlier this month I found a Crazy Otto record at a used book store in Burlington, Massachusetts, and so of course had to pick it up. I've been turned on to a lot of different music because of the Grateful Dead, and this particular record is certainly among the more surprising. It contains some fun piano music, including an unusual rendition of "In The Mood," the song written by Joe Garland and popularized by Glenn Miller. I don't think I've ever heard a version quite like this before. 

Grateful Dead: "Dave's Picks Volume 55" (2025) CD Review

The new volume in the Grateful Dead series of concert recordings takes us to Europe 1990. Brent Mydland had died just after the summer tour, and the Dead had introduced new keyboardist Vince Welnick (from The Tubes) in early September in Ohio. After shows in Philadelphia and New York (those Madison Square Garden shows being the first with Bruce Hornsby as a semi-official band member), the band went to Europe. Dave's Picks Volume 55 contains the complete show the Dead performed on October 28, 1990 in Paris, as well as some of the show from October 30 in London. This three-disc set includes two Bruce Hornsby songs that the Dead performed only a handful of times.

Disc 1

The first disc contains the entire first set. After a bit of tuning, which becomes rather pretty (seriously), and the feeling that this could lead to so many different things, the band begins the show with "Touch Of Grey." We can hear the crowd respond enthusiastically. Yeah, it's the great joy of another show starting, and it starting with such a positive number, a song that brings folks together, especially when "I will get by" becomes "We will get by." The song has such good energy here. Listen to Jerry Garcia sing, "Oh, well, a touch of grey/Kinda suits you anyway." Wonderful! "We will get by/We will get by/We will get by/We will survive." What a great rendition. As it concludes, Bob Weir leads the band straight into "Walkin' Blues." Listen to that work on piano there near the beginning. This is the blues, blues to make us feel good, and with a great pulse. Bob cuts loose on vocals, and the band helps us shake those blues away. Bruce Hornsby again delivers on piano, pumping up the energy. This just gets better and better; it might be one of the best "Walkin' Blues" the band ever did.

During the tuning, certainly many of those in attendance were playing the game of trying to guess the next song. Whoever guessed "Candyman" was right, and the Dead deliver a sweet rendition. It features a fairly strong vocal performance from Jerry, and a particularly good guitar lead, with something of an unusual feel. This rendition has great peaks and valleys, and the crowd shows its appreciation. You can also feel the crowd anticipating the next song, responding to it even a fraction of a second before it begins. That song is "Box Of Rain." Phil Lesh sounds really good here, and this is another of those songs that are needed in these strange days we're experiencing, a song to help us through, to ease us through. "A box of rain will ease the pain/And love will see you through." We then hear a few "Mexicali Blues" teases before the band starts the song. There is some interesting stuff in this rendition during the jam in the middle. That section makes this version special. It leads straight into "Maggie's Farm." It might not be the smoothest transition, but no worries. Bob takes the first verse, delivering a biting performance that is perfect. Jerry then takes the next verse. This is a fun rendition, pipping and moving. Bruce, Vince and Phil take a verse as well. The jam could have gone on longer at the end.

The band then goes into "Althea," its Hamlet reference always grabbing me. This is a good rendition. There is something we can learn from this song, and sometimes that hits us harder than other times. The jam here has some energy to it. Then it gently lets us go. Bob then chooses one of my favorite songs, "Cassidy," another song with lyrics that stay with us, offering nuggets as our lives proceed. When I met lyricist John Perry Barlow, this is the main song we talked bout. It was a favorite of his too. This version might not get to those extraordinary places, but that's not for lack of trying. A certain energy builds up, rumbling beneath. "Tennessee Jed" follows. "Rich man step on my poor head," Jerry sings in this one, and it sounds about right. This is one of those songs everyone was always happy to hear. Is there a mediocre version? Not that I've heard. The band always seemed able to deliver on this one, and I love the way the jam moves, steps, dances. And you might think the set would end there, but instead the band introduces "Stander On The Mountain," a Bruce Hornsby song that was included on Bruce's 1990 album A Night On The Town. The Dead played it only two more times after this. "Let us sit and talk of old times." Ah, yes! And that's how the first set ends.

Disc 2

The second disc contains the first half of the second set, along with the end of the first set from the next show. The Dead opens the set with "Victim Or The Crime," and this is a deep, growling rendition, with an ominous opening. This song was never a favorite of mine. I thought there was a sort of ugliness to its sound. But from that opening, especially the percussion and Phil's work on bass, it is clear this is a rendition to pay attention to. It contains an interesting, strange and cool final section. I love when it's not quite clear where the band is going, when there are many possibilities, both dark and light, and everything in between. Eventually it is to the lighter side the band takes us, going into "Eyes Of The World." This one is always fun to dance to, a positive song to raise our spirits. Jerry delivers some really nice stuff on guitar. There is also good stuff on keys in that first jam. The "Sometimes we visit your country and live in your home" line gets a big reaction at this show, understandably. The jam at the end gets loose, and soon the band finds its way into "Estimated Prophet." I love the combination of "Eyes" and "Estimated." And "California" sounds so good, so promising the first time Bob sings it. It does sound like the promised land. And when Bob calls out "Glory," it is like he is summoning it, demanding it.The jam has a cool vibe to it. There is where the band starts to reach out, electric corkscrews piercing the sky, creating openings from which a special wine may flow. And then it becomes a river taking us along with ease and nary a care.

Those waters deposits us on a bank, and as the river continues to flow past us, the band goes into "Uncle John's Band." And who isn't smiling now? "Well, the first days are the hardest days/Don't you worry anymore." Bruce Hornsby is on accordion, delivering some nice stuff. They skip a verse, and when they realize it, the audience reacts. They quickly decide to go back and do that verse, but then repeat the final lines of the next verse instead of singing the last lines of that verse. "Come on along or go alone." At the time we were eager to go along; now it seems we go alone. But the music here shows us we're never quite alone. "Drums" emerges in a wonderfully natural way from "Uncle John's Band." Bill Kreutzmann and Mickey Hart maintain a strong beat at first, before moving into other territory, where heavier, older voices speak through the elements, through wind and fire. And as our fists beat on the sky, demanding entrance, other doors open all around us, and various creatures poke their faces in, to learn, to introduce themselves, to tell jokes, and even to frighten us. They all seem to join in a ritual, a celebration. And yes, there is still some uncertainty, some fear, until a giant frog tells us it's okay. I always trust a frog. The frog then presides over the rest of the ceremony, and so we're all comfortable, even as pieces of reality are sliced off the main portion and distributed to hungry electric demons who arrive with empty plates in hand. And as the music is about to move into "Space," it fades out.

Then we get the final two songs of the first set from the show the Dead did on October 30, 1990, though here divided into three tracks. The first is a really good rendition of "Let It Grow," with its power and energy building. I love when Jerry's guitar essentially does the vocal line. As it builds, it feels it could tunnel right into the side of a mountain. There is a force here that won't give up, until light suddenly falls gently to the field, and life springs out from every spot upon which it lands. And we're back into the main section of the song. Then the moment the jam begins, I completely understand why it is presented as a separate track. It feels like the beginning of a new song, led by Bruce Hornsby on piano. It feels like it could be one of his songs. The piano work is pretty. This is really all about Bruce, the others seeming to disappear for a bit. And that leads straight into "The Valley Road," which comes on with a delicious rock and roll vibe. This song comes from the 1988 Bruce Hornsby And The Range album Scenes From The Southside. The Dead played it only a half-dozen times. It's a fun song, and the Dead seem to feel more at home here than during "Stander On The Mountain," but that might be because this was the second time the band played this one. And that's the end of the first set.

Disc 3

The third disc contains the rest of the second set and encore, along with the first segment of the second set from the October 30 show. The disc begins with "Space." A haunted "Space" it is too, a sort of dance of the damned mixed with the most pious of voices, and we hear that they're all the same. And then they're gone, as some toddling monster puts them away and pulls out another toy. Entire worlds are playthings, and the frog makes an appearance to agree before swallowing a world and its satellites. The music reveals we're in an old film, a film unfolding around us. The guitar creates a way out of that version of reality, and we pass through several newly constructed spheres. The final one is still being built, in fact. Yet there is still something beyond that, being typed up as we think it, perhaps even before we think. It bubbles up in an electric soup that desires that wings emerge from it. And then we are suddenly inside "The Other One." It was almost a gentle entry, none of that thunder that often ushers us in. But the power comes in other ways, sneaks in, slides in. What an interesting, unusual "Other One." Then, when we're not expecting it, Phil's bass grabs hold of our throats and tosses us through those final layers. Everything is fully alive now. This becomes an intense rendition, and we get the first verse, complete with vocal effects. This rendition leaves a trail of destruction in its path, pulling back only to return to the main theme and the song's second verse. It's not a very long "Other One," but it packs a punch.

The band then eases into "Wharf Rat." This is a good version with a dark edge, so that the next section has even more meaning. "I know that the life I'm living's no good." The vocals sound great. And on "I'll get up and fly away," it's like the entire stage, or perhaps entire building, has been lifted. The band segues into "Sugar Magnolia" to make us certain things are just fine. The energy is great, and it is that song that wraps up the second set. The encore is "Knockin' On Heaven's Door," soothing everyone with that wonderful opening vocal part before Jerry delivers the song's first line. This is a gentle rendition, a beautiful rendition.

The rest of the disc is the pre-"Drums" segment of the next show, from October 30, 1990 in London. As the second set of the October 28 show did, this one opens with a Bob song from Built To Last, this time "Picasso Moon." And a good rendition of it, too. That leads into "Foolish Heart," and I'm especially digging Phil's bass work here. It's a strong rendition. The end of the jam section is fantastic, and the jam that leads out of the song is wonderful, with a bright energy, particularly to the guitar work. It makes complete sense to go from there into "Looks Like Rain." This is an excellent rendition of "Looks Like Rain." "But I'll still sing you love songs/Written in the letters of your name/And brave the storm to come/For it surely looks like rain." We can't hold the storm back, can we? That song is followed by "Terrapin Station," ready to open its doors into a magical realm. And just like that, we're inside, the story of the song happening all around us. We lightly step on the smallest of stars, rising to "Inspiration!" "Terrapin" is always good, but this is particularly strong rendition. The jam takes us into interesting territory at the end. The music begins to transition into "Drums," and that's when the disc comes to a close.

CD Track List

Disc 1

1. Touch Of Grey >
2. Walkin' Blues
3. Candyman
4. Box Of Rain
5. Mexicali Blues >
6. Maggie's Farm
7. Althea
8. Cassidy
9. Tennessee Jed
10. Stander On The Mountain

Disc 2

1. Victim Or The Crime >
2. Eyes Of The World >
3. Estimated Prophet >
4. Uncle John's Band >
5. Drums
6. Let It Grow >
7. Jam >
8. Valley Road

Disc 3

1. Space >
2. The Other One >
3. Wharf Rat >
4. Sugar Magnolia
5. Knockin' On Heaven's Door
6. Picasso Moon >
7. Foolish Heart >
8. Looks Like Rain >
9. Terrapin Station

Dave's Picks Volume 55 was released in late July. My copy arrived July 28, 2025. This release is limited to 22,000 (Is that right? That means 3,000 fewer copies than Volume 54). My copy is number 10667.

Grateful Dead: "Dave's Picks 2025 Bonus Disc" (2025) CD Review

Yesterday was Jerry Garcia's birthday. Folks are now gathered in San Francisco to celebrate that occasion and also sixty years of the best band that ever existed, the Grateful Dead. The band is long gone (thirty years now), but the music continues, and some of the spirit too (certainly not all of the spirit, as tickets for these Dead & Company shows in the park were $245, a far cry from the free shows the Dead once played there). I held my own little personal celebration here in my tiny apartment, listening to this year's Dave's Picks bonus disc, which arrived with Dave's Picks Volume 54. It contains a portion of the show the Dead did on March 31, 1973 in Buffalo, New York. The disc contains the end of the first set and most of the second set.

It begins with the final song of the first set, "Playing In The Band," and there is a great energy from the start. It isn't long into the jam before we get into some magical territory, Jerry's guitar leading the way, or perhaps creating the way. Things continue moving forward. I love the excitement of the journey. This really is about seeing where the music can go, where it can take us. It's a great dance with whatever forces might exist, meeting them on common ground. To do that, the band has to first get us there. That's the journey. And they certainly manage it here. We begin to experience new possibilities and tangible, if passing, realities, the band teasing them into different shapes, coaxing from them even an answer or two, before then returning to the song's main theme. And, hey, we're back on firm ground, though changed from the experience. Better, more aware, more open. Bob Weir then announced the short break.

The rest of the disc comes from the second set, skipping only the first three songs. Some playful tuning leads into "He's Gone." This version of "He's Gone" isn't quite as stirring, as moving, as the one from the March 26th show (on Dave's Picks Volume 54), but it's still really good. And that vocal section is gentle and sweet at the start, then becomes more energetic, even fun, like a celebration in honor of a life, rather than mourning its loss. The band then pushes into "Truckin'," everyone together driving this monster down that road regardless of obstacles. And the crowd cheers at the mention of Buffalo. There is a great power behind this rendition. It feels like it could move mountains if need be. Fantastic. The jam then gets into bluesy territory for a bit. Bill Kreutzmann is eager for a solo, you can feel it, and he soon gets it. It's not a very long drum solo, but it's good. It sort of functions as a connection between "Truckin'" and "The Other One." This "Other One" has some of the same great power and force as was propelling "Truckin'" forward. It is immediately pulsing and exploding and thumping as if determined to burst through any final wall between here and there. It then pulls starlight, bending the universe to the music's will. It seems to be able to do so with ease, charming the gods, retrieving ancient knowledge from black holes, rescuing a better reality from the darkness. While also breathing in some of that darkness, incorporating it into the dance. Then more than ten minutes into the odyssey, we get back into the main theme, and Bob delivers the song's first verse.

The band then gets into weird territory. This is listed as a separate track, "Jam," though I think back in the day our tapes didn't make such distinctions. But certainly it is a big turn from what we'd been experiencing so far. We are now in less certain territory, the farther reaches of space, where reality is more tenuous and the spaces between objects much larger. Distances change with each breath. A rhythm is created, perhaps to pull those objects together, and the band finds its way into "I Know You Rider." Yes, a rare "China"-less "Rider." And such an interesting choice out of "The Other One." "The sun will shine in my back door someday/March winds will blow all my troubles away." Being as this show was on the final day of March, this was perhaps the last chance for that to happen. It's a really nice rendition. Then after a pause, during which we hear the audience going nuts, the band wraps up the set with "Sugar Magnolia." the moment they begin it, the crowd gets excited again. It's a fun rendition, with a good, long "Sunshine Daydream." What a great way to close out the set.

CD Track List

1. Playing In The Band
2. He's Gone >
3. Truckin' >
4. Drums >
5. The Other One >
6. Jam >
7. I Know You Rider
8. Sugar Magnolia

Dave's Picks 2025 Bonus Disc was released in late April, sent with copies of Dave's Picks Volume 54 to those of us with subscriptions.

Grateful Dead: "Dave's Picks Volume 54" (2025) CD Review

The new Dave's Picks volume (Volume 55) arrived a couple of days ago, and somehow I hadn't yet enjoyed the previous volume. How did that happen? Especially as that volume, Volume 54, contains a show from what is my personal favorite year for Grateful Dead concert recordings, 1973. Well, I had to listen to that one before getting to the new one. Right? There's an order to things, isn't there? Dave's Picks Volume 54 contains the complete show the Grateful Dead performed on March 26, 1973 at Baltimore Civic Center. And it is something special.

Disc 1

The first disc contains most of the first set. That's right, it's a nice, long first set. They kick it off with a classic rock and roll number, Chuck Berry's "Promised Land," to set things in motion. The energy is good, and there is a nice moment with Keith Godchaux rocking the keys. And those final lines are belted out with a delicious power and attitude. Jerry Garcia then leads the band into "Mississippi Half-Step Uptown Toodeloo." This song really clicks when Jerry sings, "I nailed a re-tread to my feet and prayed for better weather." And from there it is a stellar rendition. Jerry is really digging in and tearing it apart vocally. So good! A jam then gets us from there to the "Across the Rio Grande-O" part perfectly. And Jerry's guitar is a great old friend, helping us carefully find our footing. There is a tremendous beauty to the last section of the song.

Bob Weir then takes the band into a fun country dance rendition of "The Race Is On," Donna Jean Godchaux's vocals figuring prominently. Keith gets a chance to cut loose on the piano. The band then finds its way into "Wave That Flag," a new song that would become "U.S. Blues." Whenever I hear one of these early recordings, the lyrics always surprise me. But whatever set of lyrics is used, this song promises a fun time. Though it is a bit odd to hear Jerry sing something as straightforward as "Feed the poor, stop the war." There is a bit of tinkering before they gently move into "Jack Straw," a song that always brought the audience together. And this is an excellent rendition, beginning in sweet territory and taking us down the road swiftly when it needs to, letting us relax when the opportunities arise. "The eagles filled the sky." Keeping things in the same general realm, Jerry starts "Sugaree," the music gently rocking us in its arms. The guitar is dancing at one point, and Phil Lesh's bass shines and smiles. Jerry's vocals become incredibly passionate toward the end, driving things forward.

Things get much lighter, more playful, with "Mexicali Blues." This is a really good rendition. Listen to the way the guitar dances here, during the lead in the second half. Phil then gets a chance to sing, the Dead following "Mexicali" with "Box Of Rain." "For this is all a dream we dreamed/One afternoon long ago." There is a rather sweet jam in the middle, and there are moments when its power swells. It's those sweeter sections that make this one special, I think. The band then eases into "Row Jimmy," featuring a soulful vocal performance from Jerry. His voice is ageless, in a way, for he could always, even when he was young, summon the sort of wisdom and experience in his voice you'd expect of someone several decades his elder. "Not too fast and not too slow." This is a really nice rendition. Then, what is that, twelve or thirteen beats, that kick off this version of "Beat It On Down The Line"? Can you tell how good a performance of that song is going to be by how many beats they choose to open it? I'm sure someone is studying this question. But as for me, I'm just thoroughly enjoying this version. Keith is again rocking the keys, and Jerry delivers some delicious work on guitar.

"Brown-Eyed Women" is one of those songs that kind of quietly grab you every single time. It gets its hooks into you. "Delilah Jones went to meet her god/And the old man never was the same again." There is a bit of stage banter afterward, with Bob saying it's getting to sound like a roller derby up there. They then glide into "El Paso," engaging us all in a dance, a dance that not all characters will survive, even as we urge them on. This is a particularly strong rendition, featuring an excellent vocal performance by Bob, and some outstanding guitar work by Jerry. That character gets to live again each time we listen to this song, and die again. Bill Kreutzmann gives us some playful stuff on drums right after that song. The first disc concludes with "China Cat Sunflower" into "I Know You Rider," and the moment they begin "China Cat" we can hear the crowd react enthusiastically. It's a joyful journey into that other realm, a fast dance through that land. The jam turns pretty, and the segue into "Rider" is smooth. This rendition of "I Know You Rider" has power in all the right places, and is another highlight of the first disc. This disc, by the way, contains more than seventy-eight minutes of music, but the first set isn't yet over.

Disc 2

The second disc contains the last three songs of the first set, as well as a good chunk of the second set. It begins with a pretty rendition of "Looks Like Rain," with a particularly touching vocal performance by Bob. "It's all right, 'cause I love you/That's not gonna change."And that guitar has a whole world of ache and hope behind it. "Whole world's turning grey/And it looks like rain." This is one of the best renditions of "Looks Like Rain" I've heard. Jerry then gets things rocking and hopping with a fun rendition of "Don't Ease Me In." You'd think that would be it for the first set, but no, the guys have a nineteen-minute "Playing In The Band" left in them. You know that means the band is about to take us into the special territory where they are always completely at home. "I don't trust to nothing/But I know it'll come out right." First we start in more grounded space. Bill is clearly eager to get moving. And it isn't all that long after that when the band begins to explore, tearing away layer after layer that separates us from the answers to all of life's most important questions. They find life pulsing all through the universe, and maybe they themselves are the cause, for even starlight responds to the music. Asteroids adjust their course to be closer to the great glow and sparkle of this band, of the notes that go spiraling off into the farther reaches of space. Jerry's guitar is found to be be fluent in every language needed for interstellar travel. All beings understand the music perfectly. Phil's bass becomes a creature's pulse, speaks directly to its source. There is an interesting section led by piano and drums. Bill is dancing at his kit. More unusual space is explored from there, and the ride becomes rather wild at times. The farther out we go, the closer to home we get. There are little hints, familiar elements of the main body of the song. And when things settle enough for us to recognize our surroundings, the band launches back into the song's main theme. And Donna gives her scream. This incredible "Playing" brings the first set to a close.

Interestingly, Woflman Jack introduces the band before the second set. "This is a great party," he says, and urges everyone to light up. While he tells folks to hold up their matches, the Dead start the set with "Ramble On Rose," a song that mentions Wolfman Jack in its lyrics. And Jerry gives that line a little more emphasis this time around. Does Jerry forget the lyrics for a moment at the beginning? No worries, this is still a really good rendition. It's followed by a fun, hopping version of "Big River" featuring an excellent lead by Keith on keys that takes the song to another level. Then we get a really good "Here Comes Sunshine," featuring some nice jamming in the middle. Some tuning follows, and then the guys go into a strong "Greatest Story Ever Told." Wow, this band seems determined to deliver the goods with every song. There is some jamming here too, with a great energy, and Donna cuts loose. The band then eases into "Candyman." Jerry might struggle to find a line at one point, but this an excellent rendition. The second disc wraps up with "Me And My Uncle" and "One More Saturday Night," the latter actually being the final song of the show, but not fitting at the end of third disc where it belongs. It's a rock and roll number to leave everyone dancing.

Disc 3

The last disc contains the rest of the second set, all eighty minutes of it. It begins with "He's Gone," a song whose meaning changed after the death of Ron "Pigpen" McKernan earlier that month. And you feel it here. There is something sad, something contemplative in the vibe, in the delivery, in the pace. The instrumental section seems to be reaching out to him, to a memory. "Going where the wind don't blow so strange." It's a moving and beautiful rendition. As always, that vocal section is wonderful. Donna plays a part in that vocal section, and the band keeps it going long enough that we all feel a part of it. It comes to feel almost spiritual, growing more and more meaningful. There is a release here. And the jam feels like it is guiding a spirit outward with a soft touch and a smile, and then letting go. It is beautiful. As it leads straight into "Truckin'," you can hear, and feel, the crowd getting excited. Everyone feels a part of the journey, a part of the ride. And there is some steam, some power behind it. The jam maintains a good groove, moving folks forward. Suddenly a new intensity comes over it, and things take on more of a blues flavor, even as they begin to stray away from the road, following the sprites into other realms, where the curtain between us and the spirits fades. As things slow, there is a darkness added, and soon the guitar leads us out of this realm and into "Weather Report Suite: Prelude," which is gorgeous. The full "Weather Report Suite" hadn't been played yet, and the band follows "Prelude" with a sweet, rather pretty jam. After a while, the music enters some sharper and more intense territory, but soon passes through to something brighter. The band does not go fully into that area, instead changing directions and beginning "Wharf Rat." They let the theme of the song run a bit before getting into the lyrics. And then listen to the way Jerry sings, "But I'll get back on my feet someday." That whole section is stunning. Then there is a great power and force to the music coming out of that section, paving the way for Jerry's "I'll get up and fly away." This is a stellar rendition, with some great stuff by Bill on drums. The song comes to a gentle ending, and as it does, "Me And Bobby McGee" begins. It does so softly, almost tenderly, and develops into a beautiful rendition that leaves me feeling good. And of course "Eyes Of The World" guarantees that that good feeling stretches out, grows stronger. Always a good song to dance to, "Eyes" has a delicious rhythm and a great vibe, one that carries optimism even in the face of decay. "The night comes so quiet, it's close on the heels of the day." I love the way things build even after the song's final lines, the jam having a structure. There is one point where it feels it might break apart, but then they're back into that rhythm. And this is an early version of "Eyes," so that other cool section in the jam is included. These are my favorite sorts of "Eyes," and this is an especially good rendition. And what an incredible segue into "Morning Dew." Right from the start, it's apparent this is a special "Dew." Just listen to Jerry's delivery of that first stanza. When he sings, "I can't walk you out in the morning dew, my honey," I just want to cry. You can feel the sorrow, and even the despair at the stupidity of mankind's demise. This is a haunting and captivating performance. The guitar too laments the unnecessary end, and screams out into the void, almost demanding a response. "I guess it doesn't matter anyway" is the depressing conclusion to our story. At the end, nothing will matter. But now there is great beauty in this song. It continues to rise defiantly, as humanity may do right to its ultimate breath. What an incredible rendition of "Morning Dew" to wrap up the disc.

CD Track List

Disc 1

1. Promised Land
2. Mississippi Half-Step Uptown Toodeloo
3. The Race Is On
4. Wave That Flag
5. Jack Straw
6. Sugaree
7. Mexicali Blues
8. Box Of Rain
9. Row Jimmy
10. Beat It On Down The Line
11. Brown-Eyed Women
12. El Paso
13. China Cat Sunflower >
14. I Know You Rider

Disc 2

1. Looks Like Rain
2. Don't Ease Me In
3. Playing In The Band
4. Wolfman Jack Introduction
5. Ramble On Rose
6. Big River
7. Here Comes Sunshine
8. Greatest Story Ever Told
9. Candyman
10. Me And My Uncle
11. One More Saturday Night

Disc 3

1. He's Gone >
2. Truckin' >
3. Weather Report Suite: Prelude >
4. Jam >
5. Wharf Rat >
6. Me And Bobby McGee >
7. Eyes Of The World >
8. Morning Dew

Dave's Picks Volume 54 was released in late April. My copy arrived April 26, 2025. This is a limited edition of 25,000 copies (my copy is number 15089). This volume came with the year's bonus disc, which I aim to listen to soon. And then I'll get to Volume 55. So much good music!

Russ Anixter’s Hippie Big Band: “What Is?” (2025) CD Review

One of the most important bands in my life is the Grateful Dead. I heard them on the radio when I was six (“I Need A Miracle”), started getting into them when I was ten (my older cousin played Skeletons From The Closet), and started to really get into them when I was thirteen (a radio program played bootleg tapes), and saw them in concert for the first time when I was sixteen. A common utterance back then was “There’s nothing like a Grateful Dead concert.” And that was true. Those guys were unlike any other band. Yet several bands, even then, and many more now, have covered the Dead’s music, taking it in directions that might have surprised even the band members. Russ Anixter’s Hippie Big Band puts the Dead’s music into a big band context, and on What Is? this group includes a few songs the Dead used to play. I suppose with a band name like that, it should come as no surprise that the Grateful Dead would figure prominently in the repertoire. And perhaps it should not be much of a surprise when Dead material is delivered in any sort of jazz context, since jazz had a strong influence on the Dead, on the way they approached a song. Russ Anixter’s Hippie Big Band is made up of Matt Hong on alto saxophone, flute and bass clarinet; Stan Harrison on tenor saxophone, soprano saxophone and clarinet; Frank Vacin on baritone saxophone, soprano saxophone and alto flute; Matt Owens on trumpet and flugelhorn; Audrey Flores on French horn; Dan Levine on trombone; Jack Schatz on bass trombone; Bill Hayes on vibraphone, xylophone and congas; Michael Aarons on guitar; Steve Count on bass; and Scott Neumann on drums. There are a couple of special guests on certain tracks. Russ Anixter did all the arrangements and orchestrations.

The album opens with a version of “What Is Hip?” that is energetic and exciting right from the start. This is a Tower Of Power tune, and it was the lead track on that group’s self-titled 1973 record. This band delivers a strong rendition with plenty of great work from the brass section and the rhythm section. There is some especially good work by Matt Hong on alto saxophone. These guys are scaling the mountain here, and doing it with a wild dance to their steps. It’s a fantastic start to the disc. It’s followed by “Dixie Chicken,” a Little Feat song I’ve always enjoyed. It’s a fun number, and these guys certainly nail that sense of fun, that sense of play, in this rendition. Everything is delightfully loose, just the kind of thing to get you feeling good. There is a bit of a second line vibe to it too at moments, adding to the fun. It’s easy to imagine this band winding through the streets of New Orleans playing this one, other folks joining in at each block. Things get a little chaotic in the middle, seeming to fall apart, but actually getting more interesting, the band breaking things down in order to explore certain places more fully, and, I suspect, to give them the opportunity to launch back into the groove with an even stronger force and greater joy. This song works incredibly well in this context. Special guest Steven Bernstein joins the band on slide trumpet on this track.

“Free Man In Paris” is an interesting choice. Joni Mitchell in a big band setting?  Sure, why not? After all, there is a certain jazz influence heard in some of her material, particularly an album like Court And Spark, from which this song comes. The song is paired with “Freedom Jazz Dance,” composed by Eddie Harris, and featuring some delicious drumming. And I love those light moments after the band returns to “Free Man In Paris.” Plus, this track features some really good stuff on vibraphone. They then go from Joni Mitchell to Beatles. I’m not sure what the best Beatles album is, though I tend to lean toward the White Album. But certainly a case can be made for Revolver, in part because of the presence of “She Said, She Said,” a fantastic and psychedelic song that the Hippie Big Band covers here. This group delivers a wonderful rendition of that song, taking the groove into some unexpected places. I love how when some of the instruments begin to explore, other instruments will touch upon the song’s main theme, so that things never stray too far afield, yet still keep us on our toes. This is one of my favorite tracks. It is followed by “Heaven On Their Minds.” I had forgotten about this song. It has been a while since I’ve listened to Jesus Christ Superstar (in part because I never want to hear “What’s The Buzz” again). The guitar figures prominently on this track, right from the start, Michael Aarons delivering some good stuff. This track also features some excellent work by Frank Vacin on both soprano saxophone and alto flute. This song is actually pretty damn wonderful as an instrumental.

Then we get the good ol’ Grateful Dead. The first song they tackle is “Saint Stephen,” one of the band’s great vehicles for exploration, and one I wish I had gotten a chance to see the Dead perform. Word was the band was soundchecking it toward the end. Who knows what might have been if Jerry had lived another year or two? Anyway, the Hippie Big Band gives us a good and fairly respectful rendition of the main body of the song, with a bright energy. You can easily sing along if you wish. They do not include the William Tell section, but rather go straight into a spirited rendition of “Turn On Your Lovelight” (skipping “The Eleven”). It’s fun, but nothing too wild. This track is only seven minutes after all, including both songs. They return to “Saint Stephen” just before the end. That is followed by an interesting rendition of “Uncle John’s Band,” with a vibe almost like an a cappella version at first, for there is no rhythm section for the first minute or so. Here the woodwinds shine. The rest of the band does come in just before what would be the “Goddamn, well, I declare” line, and we get some nice work on guitar. Oz Noy joins the band on guitar on this track. This is a song that I keep turning to in these days when fascist morons are running, and ruining, the show. “Ain’t no time to hate, barely time to wait.” I’m trying, I’m trying. This track has such a positive vibe to it, and features some excellent jamming toward the end. Then, holy moly, the band is seriously grooving on “Hide Away.” This is pure fun, with a delicious energy to take us right through all the troubles ahead of us. The track contains some really good guitar work. In the middle, the band shifts into Mancini’s “Peter Gunn Theme,” sticking with that for a while. I guess Russ Anixter figured the track needed yet another layer of cool. Things really take off then. I especially love that saxophone work. And, yes, if you’re wondering, “Hide Away” is a song the Dead covered on at least one occasion.

Moondance is one of those albums that absolutely everyone should have in his collection. Every track on it is excellent, and the album has a great vibe to it. One of that record’s best songs is “Into The Mystic,” and the Hippie Big Band delivers a sweet rendition of it here, capturing the wonderful vibe of the original recording and putting me in such a good mood. That’s followed by “Whipping Post.” There is a good deal of power to this band’s rendition of The Allman Brothers Band’s song right from its opening moments. This is a seriously cool version. Steven Bernstein returns on slide trumpet for this one, delivering some great stuff. And the band does explore a bit here, taking us in some interesting directions. I love how the band approaches this song. They wrap things up with “Green Hornet Theme.” And why not? Television shows had great theme music back then, and this track is a whole lot of fun. It features some delightful work on both trumpet and xylophone.

CD Track List

1. What Is Hip?
2. Dixie Chicken
3. Free Man In Paris/Freedom Jazz Dance
4. She Said, She Said
5. Heaven On Their Minds
6. Saint Stephen/Turn On Your Lovelight
7. Uncle John’s Band
8. Hide Away
9. Into The Mystic
10. Whipping Post
11. Green Hornet

What Is? was released on February 7, 2025.