Grateful Dead Albums (31)
'Truckin' Up to Buffalo: July 4, 1989'
Release Date 7/12/2005
Tracks 42
Label Rhino
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What The Critics Say
Spread over two CDs, 2005's Truckin' Up to Buffalo contains the Grateful Dead's entire 1989 Independence Day performance. This date -- from Rich Stadium in Orchard Park, NY -- was the second of their summer East Coast tour. Many if not all of those gigs were documented by a six-camera crew under the direction of Len Dell'amico. The thoroughly favorable results can been seen and heard on the similarly titled companion DVD volume. Deadhead audiophiles will definitely want to avail themselves of that release, as the 5.1 Surround mix puts the consumer front row center. Dell'amico's résumé boasts several earlier collaborations with the combo, such as Dead Ahead (1980) and So Far (1987). During the '80s, the Grateful Dead's lineup featured Jerry Garcia (lead guitar/vocals), Mickey Hart (drums), Bill Kreutzmann (percussion), Phil Lesh (electric bass/vocals), Brent Mydland (keyboards/vocals), and Bob Weir (rhythm guitar/vocals). While glancing at the song list may not reveal any surprises, finicky and hard to please enthusiasts will be thrilled by above-average playing from start to finish. A prime example is the rousing coupling of "Bertha" and "Greatest Story Ever Told," kick-starting the festivities. Garcia seems to be in good spirits, as his resounding vocals and fretwork are consistent and exceptional. In his intangible fashion, Garcia is able to elevate the proceedings from being merely adequate into the occasionally rarefied air of excellence. In particular, the aggressive reading of "Deal," concluding the first set, boasts fierce instrumental interaction reminiscent of the intensity that accompanied "That's It for the Other One" jams of the late-'60s/early-'70s era (namely those from the legendary February 27 through March 2, 1969 run at the Fillmore West). They resume their feisty exchanges throughout with a note-perfect "Touch of Grey" that slams into an equally inspired cover of the calypso classic "Man Smart, Woman Smarter" and a reprise of "Playing in the Band" that picks right back up where they had left off during the previous show. Despite the occasional lyrical flub, another high point is the emphatic "Morning Dew" that glides into a boogie-fueled "Not Fade Away" closer. Seeing as it was the Fourth of July, the "U.S. Blues" encore, while a somewhat obvious choice, is likewise a welcome one. Parties desiring more multimedia goodies from the Grateful Dead's 1989 East Coast summer jaunt should direct their attention to 1997's Downhill from Here, which captures the band at Alpine Valley Music Theater in East Troy, WI, a few weeks later. ~ Lindsay Planer, All Music Guide
'Rare Cuts and Oddities 1966'
Release Date 3/25/2005
Tracks 18
Label Grateful Dead Records
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What The Critics Say
For the truly Dead-icated Grateful Dead enthusiast, Rare Cuts and Oddities 1966 (2005) might be comparable to the recovery of lost Biblical relics, shedding light and providing a valuable context for the works to come. It certainly can't be argued that the band -- which consisted at the time of Jerry Garcia (guitar/vocals), Ron "Pigpen" McKernan (vocals/harmonica/organ/percussion), Bob Weir (guitar/vocals), Phil Lesh (bass/vocals) and Bill Kreutzmann (drums) -- would take what they developed here and go on to create much more substantial, if not genre-defining, music. Likewise, upon hearing the flood of ideas crammed into these energetic selections, there is no doubt that a sonic synergy is occurring and rapidly maturing into its own unique beast. The 18 tracks are split fairly evenly between studio demos/rehearsals and performances, all recorded at some point circa 1966. None of these would have been captured at all if not for the forethought and general curiosity of Owsley Stanley, who became their benefactor and sound man during this seminal era. He pieced together an amplification system for the combo and in order to get a sense of its strengths and weaknesses, he also taped their live gigs. Some of those have circulated among fans and -- as Rare Cuts and Oddities 1966 proves -- many others haven't. Especially in terms of sound quality that could be considered audiophile by comparison to the oft-traded fare. The Grateful Dead's set list points primarily to the members own specific tastes -- such as McKernan's obvious affinity and penchant for the blues, or Garcia and Weir's folkier leanings. There are also early originals, including McKernan's "You See a Broken Heart," Garcia's "Cream Puff War" -- with alternate lyrics -- as well as the group-derived "Standing on the Corner." The incendiary, blazing and ferocious "Caution (Do Not Stop on Tracks)" tumbles out of a brooding and stinging overhaul of James Moore's "I'm a King Bee" for a total of a quarter-hour long fusion of the Grateful Dead's patented blues-a-delia. Fittingly, that combination concludes the compilation, as the story resumes from here on the double-CD Birth of the Dead (2003). Notably, a few of these entries remained in their repertoire, specifically "Not Fade Away" and "Good Lovin'." Here, the latter moves at a breakneck speed that gets them through both verses and a chorus in under a minute (no lie!) and the former bears an unrelenting Bo Diddley groove that seems to have dissipated over the years. The majority of the tunes stayed in the lineup until new, fresh material began to take their place -- particularly when Robert Hunter joined the fray the following year. ~ Lindsay Planer, All Music Guide
'Dick's Picks, Vol. 36'
Release Date 1/1/2005
Tracks 30
Label Grateful Dead
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What The Critics Say
1972 was a pivotal year in the Grateful Dead's evolution. The band, crew, and families spent the better part of the spring across the pond, touring throughout Europe. Failing health was rapidly catching up with co-founder Ron "Pigpen" McKernan (vocals/organ/harmonica), who -- still considered an active member -- had not played with the Grateful Dead since mid-June. His replacement(s) came in the form of the husband-and-wife team of Keith Godchaux (keyboards) and Donna Jean Godchaux (vocals). The pair's contributions, especially those of Keith, were immediately felt in the jazz-fused direction the Dead's music was adopting. The four-disc Dick's Picks, Vol. 36 (2005) includes the complete three-plus-hour performance on September 21, 1972, at the Spectrum in Philadelphia, PA. While the show is heavy on longer jams, those excursions are complemented with compact selections, such as the rousing cover of Chuck Berry's "Promise Land" that kicks off the set. Due to a broken string from Jerry Garcia (guitar/vocals), Keith Godchaux steps up with beautiful piano leads during a nearly quarter-hour "Bird Song," that joins a particularly ferocious "China Cat Sunflower"/"I Know You Rider" and "Loser" as bright moments from disc one. Among other first set highlights -- which sprawl onto disc two -- are a full-throttle "Cumberland Blues," and an exceptionally trippy "Playing in the Band," with Keith Godchaux, Garcia, and Phil Lesh (bass) impelling the truly psychedelic spontaneous inventions during the sinuous instrumental improvisations. The Grateful Dead ease into the second set with a languid and probing "He's Gone" that foretells the "Truckin'"/"He's Gone" medley as well as the epic "Dark Star." Clocking in at over 30 minutes, the musicians take full advantage and have ample opportunities to navigate without trepidation into uncharted territory. Again it is Keith Godchaux and Garcia who initiate the collective exploration. Additionally, there are readings of "Morning Dew" -- which emerges from the ashes of "Dark Star" -- "Mississippi Half-Step Uptown Toodeloo," as well as a sublime "Goin' Down the Road Feeling Bad" that is concealed within a brawny "Not Fade Away" sandwich. By some accounts the triple-tune filler -- from September 3, 1972, at Folsom Field in Boulder, CO -- equals the main program. "He's Gone" provides a perfect platform for the vicious "Other One," and emotive "Wharf Rat" that follows. Parties interested in experiencing the Grateful Dead at one of their undeniable peaks -- both in terms of repertoire and prowess -- will not be disappointed and may well find themselves regularly revisiting Dick's Picks, Vol. 36. ~ Lindsay Planer, All Music Guide
'The Grateful Dead Movie Soundtrack'
Release Date 11/2/2004
Tracks 44
Label Grateful Dead Productions
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What The Critics Say
Although touted as the audio companion to the significantly expanded Grateful Dead Movie 2004 DVD, this package ably stands on its own as one of the best anthologies of the era. The band is captured just prior to its short-lived touring sabbatical from October 1974 through April 1976. In fact, the five shows at Winterland Arena on The Grateful Dead Movie Soundtrack (2004) -- not to mention the film itself -- are drawn from the final run of gigs prior to that hiatus. Scholarly Deadheads may recall the thoroughly dismissible Steal Your Face (1976) had likewise been compiled from the same concerts, with the rambunctious reading of "Casey Jones" being featured on both. Even given the extended CD format, nary a moment is wasted. Every live performance included in the movie is presented unedited as is the 90-plus minutes of bonus footage incorporated into the DVD. Among the pinnacles from 10/19 are the jazzy "Eyes of the World," which is linked to an emotive "China Doll." There is also the stretched-out and spacy "Playing in the Band" from 10/16. Plus, there is tons of music that still wouldn't fit on the DVDs. In particular, the reunion with Mickey Hart (drums) on 10/20 as he returned to the fold after an absence of three years and eight months. Zeniths from that set comprise the last CD with another phenomenal "Playing in the Band" bookending athletic renditions of "Not Fade Away," "The Other One," "Wharf Rat," and two respective percussion interludes from Hart and Bill Kreutzmann. Until all five nights are released in their entirety, The Grateful Dead Movie Soundtrack will suffice nicely as a reminder that there will never be anything quite like a Grateful Dead concert circa 1974. ~ Lindsay Planer, All Music Guide
'Rockin' the Rhein with the Grateful Dead'
Release Date 5/25/2004
Tracks 28
Label Rhino
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What The Critics Say
Although the Grateful Dead's 1972 European excursion has been the subject of several multi-volume packages, Rockin' the Rhein With the Grateful Dead (2004) is the first inclusive and unedited concert taken from their initial full-fledged tour outside North America. According to the liner notes "...some very minor adjustments had to be made to the show's running order, both to keep all of the musical sequences intact and to present you with the complete show, unabridged." Producer Jeffrey Norman commented, "I realize everyone is used to the CD order because that's the order on the [surreptitiously traded] rough mixes, but that's not truly how the sets went down. I found that out when I put on the multi-tracks and listened to the segues between songs, as well as the '...thank you we'll be right back...' after [both] "Casey Jones" and "Sugar Magnolia." If we had kept the original set order, we would have had to break up the long segments. [The approach we chose] seemed a more musically, if not historically, pleasing thing to do." Hence, there were, in fact, three sets played that night. The first is replicated as it happened, while the second boasted the meaty "Dark Star" suite running through "Sugar Magnolia." According to Norman, the third consisted of: "He's Gone," "It Hurts Me Too," "El Paso," "Not Fade Away">"Going Down the Road Feelin' Bad">"Not Fade Away (Reprise)," followed by the "One More Saturday Night" encore. That noteworthy historical caveat aside, casual enthusiasts as well as Deadheads alike have long praised 1972 as a challenging and pivotal era. A rousing "Truckin'" kicks things off, initiating a set that yielded effective run-throughs of primarily newer tunes, such as Bob Weir's (guitar/vocals) Bakersfield-influenced "Black-Throated Wind," Jerry Garcia's (guitar/vocals) "Loser," and the Ron "Pigpen" McKernan-led "Chinatown Shuffle," "Mr. Charlie," and "Next Time You See Me." Things really begin to gel during the "China Cat Sunflower">"I Know You Rider" coupling. Their inspired interaction on the pairing continues for "Playing in the Band," foreshadowing the epic "Dark Star" ahead. Keeping to the track list here, the next set commences with the second-ever live performance of "He's Gone" that suffers a few minor growing pains perhaps not even discernible to the casual listener. The aforementioned "Dark Star">"Me & My Uncle">"Wharf Rat"> "Sugar Magnolia" finds them unleashing their true psychedelic potential as the collective improvisations are nothing short of transportational. While practically anything would pale in comparison, the reading of Buddy Holly's "Not Fade Away" -- split by a refreshing "Goin' Down the Road Feelin' Bad" -- maintains a substantive energy level and boasts some of Garcia's trademark crystalline string work. The bonus tracks feature two McKernan classics from May 24, 1972, at the Lyceum in London. The highlight is an exhilarating "(Turn on Your) Lovelight," which marks the final time the concert staple was driven by Pigpen, as failing health prohibited him from touring again. Accompanying the discs is a nine-panel poster sporting black-and-white photos and a replica of artwork. Parties purchasing Rockin' the Rhein (2004) from the band's own merchandising website can take advantage of a CD premium offering 73 minutes from a series of March 1972 shows for the Academy of Music, New York City March 1972 (2004). ~ Lindsay Planer, All Music Guide
What The Critics Say
Although there have been no shortage of Grateful Dead archival releases in the wake of the band's dissolution, Go to Nassau (2002) is the first set to be comprised of shows from 1980. The electric Reckoning (1981) and acoustic Dead Set (1981) -- which were culled from the Dead's series of 15th-anniversary shows at the Warfield in San Francisco and New York City's venerable Radio City Music Hall -- are the only other recordings available from this year. Historical significance aside, neither of those releases represents the band as accurately as this double-disc set. By even the most generous of accounts, the intensely perpetual psychedelic experimentation that had dominated the Grateful Dead's music in the late '60s and early to mid-'70s had begun to level out. Producer and Dead tape archivist David Lemieux cleverly navigated the available materials, synthesizing a composite that is in many ways stronger and tighter than the respective May 15 and May 16 shows from which Go to Nassau was ultimately gleaned. The title is a sly inference to the Dead's 11th studio album, Go to Heaven (1980), which had hit the streets less than a month prior to these mid-May shows. As such, it is no real surprise that this compilation includes half a dozen tracks from their most recent LP -- highlighted by the first live release of the rarely performed "Far From Me" by newly acquired keyboardist Brent Mydland. The second disc commences with a suite of recent compositions, highlighted by the combo of "Althea," "Lost Sailor," and "Saint of Circumstance," all of which had already begun to show signs of remarkable maturity. These are peppered among other performance staples such as an extended "Franklin's Tower." This version is particularly notable for the variations during the waning moments of improvised instrumentation. Likewise, "Playing in the Band" allows the group the opportunity for some inspired interaction -- although it was no longer the transportational device it had once been in the '70s. Additional kudos to the sonic spit shine that producer Jeffrey Norman gave to these recordings -- which provide an almost palpable soundstage under even the most tenuous of listening environments. ~ Lindsay Planer, All Music Guide
'Steppin' Out with the Grateful Dead: England '72'
Release Date 7/9/2002
Tracks 39
Label GDM/Arista
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What The Critics Say
The Grateful Dead's first extended tour outside the United States took them to Europe in the early spring of 1972. The tour has been well documented on several other multi-disc packages -- most notably Europe '72 (1972) and Hundred Year Hall (1995). While both have obvious merit to the rabid enthusiast as well as the casual listener, they likewise fall short of recalling the exploratory essence and improvisational apex that was propelling the band throughout this era. Steppin' Out With the Grateful Dead: England '72 focuses specifically on the seven performances that the septet played in England. From these shows a total of well over five and a quarter hours have been culled to create the first package in which there is plenty of room to allow the Dead to weave their intangible magic organically. By this time, much of the band's repertoire had shifted from the aggressive proto-punk psychedelia and extended instrumental jams of the mid- to late '60s into a much more melodic trend defined by shorter and otherwise self-contained compositions. The overwhelming success of their last studio efforts -- American Beauty and Workingman's Dead -- as well as the eponymously titled live release presented a new facet to their craft. The distinct country-rock sound that flavored much of those albums had likewise infiltrated their concert performances. The pure ebb and flow of the shows has been thoroughly maintained by compilation producer David Lemieux -- who likewise came up aces with the song selection. The track list incorporates a few rarely performed covers such as "Rockin' Pneumonia and the Boogie Woogie Flu" and "Hey Bo Diddley" side by side with a few newly mined originals, including "Black-Throated Wind," "Deal," "Greatest Story Ever Told," and "Sugaree," from Jerry Garcia and Bob Weir's respective debut solo discs, Garcia and Ace. Additionally, there are several concurrently new compositions from Ron "Pigpen" McKernan, including "Mr. Charlie," "The Stranger," and "Chinatown Shuffle" -- the latter pair being performed exclusively during this, McKernan's final tour with the band. Years of excessive drinking cut his life tragically short and, apart from one final stateside appearance, he was no longer able to perform with the band he co-founded some eight years prior. Deadheads clamoring for longer, stretched-out sonic explorations will likewise have much to discover and rediscover. Primary among these are the extended "Truckin'" medley, which includes a few stops along the way into "The Other One," Marty Robbins' "El Paso," and "Wharf Rat," as well as nearly an hourlong coupling of "Dark Star" with "Sugar Magnolia" and the old psychedelic standby "Caution (Do Not Step on Tracks)." ~ Lindsay Planer, All Music Guide
'Grateful Dead Documentary'
Release Date 10/16/2001
Tracks 32
Label Grateful Dead Records
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What The Critics Say
This limited-edition two-disc set was available as a promotional premium in conjunction with the sale of the Golden Road (1965-1973) box set. The offer was extended exclusively through the Grateful Dead's online and mail-order merchandising organization. The days of free-form or underground FM radio are revisited during this two-hour music and interview Grateful Dead Documentary, which originally aired June 8, 1969, on San Francisco's KSAN-FM. The program is co-hosted by Michael Wanger and Vance Frost, who began producing a weekly series of radio documentaries for Stanford University's KZSU-FM in 1968. With the guidance and support of KSAN-FM's program director -- the legendary Tom Donahue -- Wanger and Frost began the six-month process involved in producing this brilliantly executed time capsule of the Grateful Dead's history up through the end of 1968. Not only did the entire band (sans Ronald "Pigpen" McKernan) contribute by revealing an artistic sensitivity rarely captured in their print interviews, they are also open to discussing their immediate artistic concerns regarding their music, their record company, and most tellingly, each other as musicians. The mutual admiration extends into their immediate circle of psychedelic Bay Area contemporaries as well. Interviewees include John Cipollina and David Freiberg from the Quicksilver Messenger Service, as well as Paul Kantner and Spencer Dryden from Jefferson Airplane. Their appreciation is perhaps the most profound, providing unique observations of what appeals to them about the Grateful Dead not only as performers, but most importantly as constituents and friends. Due to the vintage nature of this documentary, vinyl sources were originally all that was available for use. Normally, surface noise and the revealed limitations of the medium on CD would diminish the listening experience. This is the rare exception as the superior mixes used on those initial pressings have yet to be replicated in the digital domain. Notable among these is "The Golden Road (To Unlimited Devotion)" and the brilliant 45 mix of "Dark Star." Also listen for a special hidden bonus performance. ~ Lindsay Planer, All Music Guide
'Fallout from the Phil Zone'
Release Date 6/16/1997
Tracks 11
Label Ace
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What The Critics Say
In contrast to then-recent Grateful Dead archival releases, this two-disc, two-hour-plus live album does not present a particular show or group of shows, but rather is a compilation, courtesy of bassist Phil Lesh (hence the title) of what he calls "rarer material (P.A. tapes and other reference sources culled from shows that wouldn't have made it out complete) that [can] stand on its 'historical relevance.'" What this means is that, even though Fallout from the Phil Zone was picked up for distribution by Arista (rather than going the mail-order route typical of then-recent Dead material), it is, if anything, even more arcane, even more of a fan-oriented release than the others. The material spans the years 1967-1995, practically the Dead's entire career. For the most part, the historical relevance is hard to discern, though the album does contain a 1970 version of "Mason's Children," which, as Lesh notes, "never made it onto an 'official' album." Rather, the choices are often idiosyncratic. Recalling that the Dead were once accused of playing "In the Midnight Hour" for 45 minutes, Lesh includes "the longest one I could find," which runs almost 32 minutes. There is a particularly well-received performance of the Ron "Pigpen" McKernan showcase "Hard to Handle" from 1971 that makes you wish for a higher-quality source than the audience tape included (or a video), if only to give a clue as to what the fuss was about. ("Maybe Pig was doing some strange dance," Lesh speculates.) Elsewhere, Lesh includes many familiar tunes in what he takes to be exceptional performances. There may be Deadheads who agree, though the less fanatical probably should steer clear of this album. ~ William Ruhlmann, All Music Guide
'The Digital Dead Screen Saver'
Release Date 1/1/1995
Tracks 1
Label KM Disney & Co.
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