Friend of the Jam

Dark star crashes, pouring its light into ashes.
Reason tatters, the forces tear loose from the axis.
Searchlight casting for faults in the clouds of delusion.
Shall we go, you and I while we can

through the transitive nightfall of diamonds?

Last week, Robert Hunter– longtime Jerry Garcia collaborator, Grateful Dead lyricist, and early MKUltra test subject– flashed permanently to the linguistic plane in which, one assumes, terrestrial linguistics and DMT have no further use. He was seventy-eight and previously had written the lyrics for basically every Dead song not written by John Perry Barlow, which is to say the majority of them. Like Barlow, who was dispatched last year, Hunter embraced the nascent internet, through which one still may locate many of his uploaded journals that, unsurprisingly, reveal an active and introspective mind.

In the time since his passing, many writers have made reference to “Black Peter,” a song obviously about death, even as one recognized that the song bore meaning as a communication to or about Hunter’s partner, Garcia.

For purposes of this post, I suggest instead we turn to the band’s great suite, “Terrapin Station,” for words more self-referential:

Let my inspiration flow
in token lines suggesting rhythm
that will not forsake me
till my tale is told and done

The storyteller makes no choice
soon you will not hear his voice
his job is to shed light
and not to master

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Previously
Ashes Jam

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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.