Going Down So Many Roads Feeling a Little Bit Better Jam

Thanks to things like the Internet Archive and YouTube, the music of the Grateful Dead is widely and freely available online. While the band made about a dozen studio albums together during a roughly twenty-year period of active recording, they obviously are best-known for their live performances over thirty years of touring with the core ensemble and, including various partial lineups, over fifty total years.

A quick search suggests that, the second-most-viewed Grateful Dead YouTube video of a single live song (2.5 million views) is July 9, 1995’s “So Many Roads.” The popularity of this video is readily understandable. The night is recognized as the band’s final concert, and Jerry Garcia would be dead exactly a month later. The song itself appears in the middle of the second set and features a vocal performance from a weak, haggard Garcia that nevertheless translates as pleading, desperate, retrospective, resigned, and soulful over an undeniably emotional twelve minutes. It’s just extremely real. The hindsight of knowing makes it dangerously easy to project external narratives on a captured and preserved moment of the past, but one hardly can avoid the feeling that Garcia is in this moment conscious of his impending departure (cf. Warren Zevon, “Knockin’ on Heaven’s Door,” The Wind (2003) (live in studio)), particularly given the dark, desolate, windswept (probably just a stage fan on a hot Chicago night but still) nature of the visual shot of the video.

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“So Many Roads” was a 90s Dead product, debuting on February 22, 1992 in Oakland and appearing regularly in setlists thereafter. Garcia considered the song (auto)biographical:

It’s [lyricist Robert] Hunter writing me from my point of view, you know what I mean? We’ve been working together for so long that he knows what I know. The song is full of references to things that have to do with me . . . .

Hunter is the only guy that could do that. He can write my point of view better than I can think it, you know what I mean? So that’s the kind of relationship we have. And he frequently writes tunes from my point of view that are autobiographical. They’re actually biographical I guess. He’s the one writing them, but even so they express my point of view – and more than that they express the emotional content of my soul in a certain way that only a long-term and intimate relationship with a guy as brilliant as Hunter coughs up . . . . I can sing that song, feel totally comfortable with it.

Although the band performed “So Many Roads” fifty-four times between February 1992 and July 1995, until this week, the only version I could recall hearing was the one from that final night. I don’t think that fact is terribly surprising; as a general matter, mid-90s Dead tapes aren’t exactly in high demand.

On Tuesday, though, I heard a new-to-me version of “So Many Roads,” this one from the Boston Garden on October 1, 1994, and the relative differences are striking. It’s brighter, stronger (even if Garcia’s physical frailties remain noticeable), upbeat, energized, and about half as long as the final version. It also is this week’s Jam:

As the foregoing indicates, I am not an expert in this narrow channel; however, if you only ever hear one performance of this song, it needs to be the July 9, 1995 offering. If you hear two, though, then October 1, 1994 makes for a good and uplifting pairing.

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#space Jam

My favorite recent PFT Commenter conspiracy theory is that Space Jam 2, which is set to star LeBron James but remains in preproduction, actually is a vehicle to allow James, newly a member of the strikingly mediocre Los Angeles Lakers, to recruit top players with salaries in excess of the league’s caps by paying them to be a part of Space Jam 2, a movie that might never actually get made. If about-to-be-free-agent Kevin Durant signs a cheap contract with the Lakers this offseason, we’ll know the foregoing is true.

Another thing that’s true is that my friend Grant Zubritsky is a musician who just released two new tracks this week that wouldn’t be out of place on the soundtrack for Space Jam 2. (Take a moment to remember the strength of the soundtrack to the original movie.) In light of all of that and the fact that I don’t know if these Spotify embeds are going to work, here for this week’s Jams are both of his new numbers:

Satellite of Jam

Yesterday marked the forty-sixth anniversary of the release of Lou Reed’s second solo album, Transformer. Showing the influence of producers David Bowie and Mick Ronson, the album contained many of Reed’s biggest songs, including “Walk on the Wild Side,” “Perfect Day,” and today’s Jam, which comes from a live performance of “Satellite of Love” in Copenhagen the following year:

Shadow of The Wind Jam

As music writer Steven Hyden’s timely and expansive new remembrance notes, today is the fifteenth anniversary of the death of Warren Zevon. I recommend you read Hyden’s article while listening to these selections from Zevon’s deep catalogue. The first two picks are mine, while the third is the song Hyden identifies as the artist’s best.

I enjoyed the sandwich I had for lunch today, and I hope you have the opportunity to do the same.

Queen Jam

Aretha Franklin died this week in Detroit at the age of seventy-six. Her accomplishments are too many and great to capture here in words, at least mine anyway. Remembrances from Doc Woods and Patterson Hood follow related selections from her soulful catalogue.

It was just two months ago that Franklin appeared in this space in a clip memorializing her Blues Brothers scene-mate Matt “Guitar” Murphy, who passed in June. Naturally, that scene, like any other in which Franklin appeared (e.g., supra), belonged to Franklin.    Continue reading

Guitar Jam

Matt “Guitar” Murphy passed on to a more soulful realm late last week. Murphy played with Howlin’ Wolf and many other blues and rock ‘n’ roll notables, including Memphis Slim, and was a member of the Blues Brothers. This week’s Jam has three parts: first, a 1963 selection featuring Murphy with Memphis Slim; second, a portion of Murphy’s appearance in the 1980 movie The Blues Brothers, in which he played a fictionalized version of himself and appears alongside Aretha Franklin, who portrays his wife; and third, a 1978 live performance by the Blues Brothers that features Murphy:

Was Not Jam

As with the talk radio shows that preceded them, successful podcasts come in two general types: those that draw listeners due to a robust guest list, and those that draw listeners due to the charisma of and chemistry created by the host(s). You tune into the first one because it has Taylor Swift on this week, and you just love Taylor and everything about her. You tune into the second one because you think the host is funny or insightful, and you understand that the format calls for guest interviews but just wish it would get back to the action of the show itself. Marc Maron’s WTF Podcast is the first sort of podcast, and I wish he didn’t have such a good guest list.

Maron is the Larry King of the podcast world. I don’t really mean that as a compliment, although it does attest to a certain accomplishment of volume and recognition of relative status. The comparison arises out of the apparent fact that neither do much preparation prior to interviewing their subjects. Standing alone, it’s at least an academically interesting approach, but, as with many such approaches, it can fall apart under practical application, especially when coupled with proclivity for interrupting the subject. For Maron, the interview organization almost always takes the form of a chronological, biographical framework, and the result often essentially is a guest haltingly reciting his or her Wikipedia page. As a means of introducing a subject to an unfamiliar audience, I suppose one could do worse. The point of podcasts in general, I’d thought, and podcasts like Maron’s, I’d assumed, though, was to do more than that, to go deeper than that. Maybe not. Maybe the point of podcasts is to sell underwear and postage stamps. The point: if you aren’t going to do much prep, let the thing breathe. It’s ok if you don’t quite know what you’re talking about, but it might be better to acknowledge that and let the person who does do the talking.

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Don Was has to be one of the coolest guys around. The Detroit native is an instrumentalist, bandleader, movie director, and Grammy-winning producer whose list of credits nearly is as long as it is prestigious. He also serves as the president of Blue Note Records. Was should make an excellent interview subject. Maron’s handling of him revealed little in the way of beneath-the-surface insights, however; the host seemed more intent on having his guest drop as many famous names as possible than delving into interesting stories.

One very small nugget that managed to leak out from the smothering, Chris-Farley-Show-without-the-laughs treatment, though, was an early musical memory Was recalled with some detail, “a really important thing that happened to me when I was about fourteen.” While waiting in the car for his mother, he heard a Joe Henderson song called “Mode For Joe” and described Henderson’s saxophone solo as “howling with anguish through the horn. He was speaking to me. I was stunned to hear this.” (Maron cuts in, confusing “anguish” with “anger,” and things move on from there.)

Because Was seems like the kind of guy who has musical recommendations up on which you actually ought to follow, this week’s Jam is “Mode For Joe,” a Memorial Day weekend offering to the fallen memory of the potential of an engaging Don Was podcast interview:

Continuing Education Jam

Before lunch yesterday, I learned two things. The second was that former St. Louis Cardinals shortstop Ozzie Smith, one of the most talented and popular players in MLB history, began his career in San Diego. Smith made his major-league debut with the Padres in 1978 and spent four seasons with them before they traded him to the Cardinals following the strike-shortened 1981 season. (In digging into this news-to-me, I also discovered that the Detroit Tigers were the first team to draft Smith, but he didn’t sign with them after they picked him in the seventh round in 1976. San Diego picked him in the fourth round the following year and he signed.)

The first thing I learned yesterday morning was that Dolly Parton is the author of the Whitney Houston hit “I Will Always Love You.” Parton’s original version is this week’s Jam:

WTF: Welcome Back Kozma

This may be the deepest into the season I have stated my annual Detroit Tigers diary. With the possible exception of Jeimer Candelario, the team just hasn’t been terribly exciting or interesting to this point, “this point” currently being defined as sitting in the middle of a very mediocre AL Central with a 15-20 record. I didn’t not want to do this series this year; after all, if you write about the good times, I think you have to be disciplined enough to write about the bad times. It’s just that there didn’t seem to be a good excuse to get started. In retrospect, it’s obvious I was waiting on the call-up of Pete Kozma to get things rolling.

Kozma signed on with the Tigers in January as a free agent, and he began the season in Toledo. After a rash of injuries, the team brought him up to the majors this week, and he’s making his Tigers debut right now, in a game against the Texas Rangers.

The St. Louis Cardinals originally drafted Kozma out of high school with the eighteenth overall pick in the 2007 draft, and he broke into the majors with them in 2011. Outside of 2014 (448 PA in 143 games), the utility infielder didn’t play too much for the Cardinals, who granted him free agency after the 2015 season. The Yankees promptly signed him, but he spent all of 2016 riding the AAA rail for Scranton/Wilkes-Barre. After playing in just eleven games (ten PA) in the majors for the Yankees in 2017, New York designated him for assignment, and the Rangers claimed him off waivers. Kozma appeared in twenty-eight games for Texas before they too DFA’d him. He cleared waivers and finished the season in AAA Round Rock before becoming a free agent again.

On May 21, 2017, Kozma hit his only home run as a Ranger. The shot came off of Detroit’s Matt Boyd in a 5-2 Texas win at Comerica Park. That would be the last major-league home run for Kozma until today, almost exactly one year later, when he hit one in his first game as a Tiger, coming in a game against the Rangers in Arlington.

As of this writing, the Tigers lead the Rangers 4-3 in the top of the seventh inning. Kozma has reached base in all three of his plate appearances so far.

As a concluding note, the title of this season’s Tigers diary is WTF, which is an acronym for a number of phrases that might describe this particular team. Officially, it stands for When the Tigers broke Free, the title of the song performed in the video above and the notion that the 2018 Tigers have broken from their past trajectory and now are writing the beginning of a new chapter.

It was just before dawn
One miserable morning…
It was dark all around,
There was frost in the ground
When the Tigers broke free

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Related
2018 Detroit Tigers Season Preview
Highlights from MLB Network’s visit to Detroit Tigers spring training

Salty Jam

I really backed into this one, folks. Last week, chasing down a rumor that sprung from an Instagram meme about Bob Weir and the Grateful Dead (because this is 2018, I guess), I found a rabbit hole of a Dead blog that eventually led me to a historical chart of the band’s live performances of its original songs that plots every performance of each such song along a timeline. If there are two uncontested facts about the Dead, they are that they played for a long time and had a voluminous song catalog. One of the data points caught my eye for three reasons: (1) it indicated that the band played the song only once; (2) that performance came in 1995, the final year of the band’s active life; and (3) its title, “Salt Lake City,” was unfamiliar to me. In fact, besides “Unbroken Chain,” a famously un(der)peformed Dead song, “Salt Lake City” was the last original song the band debuted in concert.

As it turns out, SLC’s origins trace to 1977, when it appeared on Weir’s second solo album, Heaven Help the Fool. Like many Weir songs, John Perry Barlow collaborated on the lyrics, which discuss the Mormon settlement of Salt Lake City and read like a more buttoned-up version of the traditional “New Minglewood Blues” that Weir often sang with the Grateful Dead.

gd slc 95

On February 21, 1995, at Salt Lake City’s Delta Center, the band opened with “Salt Lake City,” the first and last time they ever played it live. The twenty-first was the Dead’s last of three straight nights in SLC. While that stretch wasn’t the Dead’s first appearance in the city, it was their first time back since 1981 (opener: “Alabama Getaway”), which was the only other time they played there since the release of Heaven Help the Fool (unless you count September 4, 1983 and August 20, 1987 in Park City). Perhaps the Dead saw it as a bit of a novelty, or an easy nod to a locale infrequently visited. Reviews of the night carry a generally positive tone, though many qualify or limit encouraging notes to the context of a mid-90s era regarded as low in energy, inspiration, and musical quality. Few reviews remark on the appearance of “Salt Lake City,” most preferring to mention the very good cover of Dylan’s “Visions of Johanna” that emerges out of a second-set “Space,” which both surges due to and is pock-marked by the almost cartoonish synthesizer of Vince Welnick, who was celebrating his forty-fourth birthday that day.

Technically, the Dead had played “Salt Lake City” live once prior, at a soundcheck in Atlanta in 1978. What follows and serves as this week’s Jam is the only acknowledged (and possibly the only recorded) performance, however, from 1995, less than five months before the band’s final concert: