Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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Beyond Description (1973-1989) is a companion set to 2001's 12-disc box The Golden Road (1965-1973), which collected all of the Grateful Dead's albums for Warner Bros, adding bonus tracks to each album, along with a double-disc collection of early pre-Warner recordings called "Birth of the Dead" for good measure. Beyond Description picks up the story after the Dead started their own label with 1973's Wake of the Flood and runs all the way to 1989, when they released their last studio album, Built to Last. Like The Golden Road, each album here is enhanced with bonus tracks, running the gamut from as little as three (on Built to Last) to has many as 16 (a full-length bonus disc added to 1980's live acoustic Reckoning), but there's nothing quite as enticing as "Birth of the Dead." Indeed, "enticing" is not a word that's frequently associated with the albums in this collection. Even among Deadheads, these records, with a couple of noteworthy exceptions, aren't highly regarded, and the additional studio outtakes, demos, and live tracks don't necessarily help matters either; after all, if the foundation is shaky, it's hard to add an expansion. That's true here. It's certainly nice to have this material excavated, particularly for legions of dedicated fans, but none of the bonus tracks are revelatory. None of them offer a new perspective on the album, nor are there any lost gems here (not even the version of "Good Lovin'" sung by producer/Little Feat leader Lowell George on Shakedown Street qualifies as a hidden treasure). Instead, the bonus material ranges from the merely pleasant (the bonus discs on the live Reckoning and Dead Set), to the somewhat interesting (an early take of "China Doll" on Wake of the Flood), to the forgettable (most of the studio outtakes), to the actively irritating (a long acoustic demo of "Weather Report Suite," tedious jams on Blues for Allah). It's material that fans will hear once and file away, next to their large collection of Dick's Picks discs. Conversely, the individual albums featured in Beyond Description do pack some surprises. Certain records live up to their reputations – Wake of the Flood remains one of their strongest, moodiest affairs, From the Mars Hotel is an underrated record, In the Dark is an assured comeback – but others sound both better and worse than they did in memory. In particular, Go to Heaven, while far from their best, sounds much better than its reputation suggests – it may not be much of a Dead record, but it's warm and well-crafted, a good fusion of the Doobie Brothers and Little Feat. Built to Last, however, is an outright embarrassment, a rushed sequel to In the Dark constructed with overly slick synthesizers and cavernous drums that sounds even more dated than the disco cuts scattered throughout Terrapin Station and Shakedown Street (neither of which sound inspired, but are fascinating in their tentative attempts to streamline the Dead). Ultimately, it matters little whether the albums themselves are all that strong or weak – this is a package for the diehard, the one who will buy the bad albums just to complete his collection. In that regard, Beyond Description is every bit the equal of The Golden Road – the remastering is good, the packaging has been assembled with loving care, the liner notes are solid. It's all enough to make this a necessary library piece for truly dedicated Deadheads.

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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by Stephen Thomas Erlewine, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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After satisfying their nine-title/dozen-disc deal with Warner Brothers, the Dead began their own record labels: Grateful Dead Records (for group releases) and Round Records (for solo projects). Wake of the Flood was the first Dead disc issued entirely under the band's supervision – which also included manufacturing and marketing. Additionally, the personnel had been altered as Ron "Pigpen" McKernan had passed away. The keyboard responsibilities were now in the capable hands of Keith Godchaux – whose wife Donna Jean Godchaux also provided backing vocals. It had been nearly three years since American Beauty – their previous and most successful studio album to date – and, as always, the Dead had been honing the material in concert. A majority of the tracks had been incorporated into their live sets – some for nearly six months – prior to entering the recording studio. This gave the band a unique perspective on the material, much of which remained for the next 20-plus years as staples of their concert performances. However, the inspiration and magic of the Grateful Dead's music has always been a challenge to capture in the non-reciprocal confines of a studio. Therefore, while Wake of the Flood was certainly as good – if not arguably better than – most of their previous non-live efforts, it falls far short of the incendiary performances the band was giving during this era. There are a few tracks that do tap into some of the Dead's jazzier and exceedingly improvisational nature. "Eyes of the World" contains some brilliant ensemble playing – although the time limitations inherent in the playback medium result in the track fading out just as the Dead start to really cook. Another highlight is Bob Weir's "Weather Report Suite," which foreshadows the epic proportions that the song would ultimately reach. In later years, the band dropped the opening instrumental "Prelude," as well as "Part One," choosing to pick it up for the extended "Let It Grow" section. The lilting Jerry Garcia ballad "Stella Blue" is another track that works well in this incarnation and remained in the Dead's rotating set list for the remainder of their touring careers.

by Lindsay Planer, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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The Grateful Dead made their reputation on the road with their live shows, and they always struggled to capture that magic in the studio. From the Mars Hotel, while not a classic, represents one of their better studio albums. Jerry Garcia sounds engaged throughout and takes the vocal reigns for most of the songs on the album – although he's not the most gifted vocalist, he proves himself able and versatile. He sings the rollicking opener, "U.S. Blues," with a tongue-in-cheek seriousness that gives the political song an edge, and he lends emotional sincerity to the atmospheric ballad "China Doll." Garcia shines on guitar during the funk workout "Scarlet Begonias," but the ensemble work is best displayed on the album's centerpiece, "Unbroken Chain." During this song, all the musicians are allowed to shine: Phil Lesh, the bassist and songwriter, provides tender vocals over a piano-based arrangement while the bridge allows the guitars and drums to stretch out in classic Grateful Dead style. This album is highly recommended for fans, but casual listeners should start with American Beauty or Workingman's Dead.

by Vik Iyengar, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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The Grateful Dead went into a state of latent activity in the fall of 1974 that lasted until the spring of the following year when the band reconvened at guitarist/vocalist Bob Weir's Ace Studios to record Blues for Allah. The disc was likewise the third to be issued on their own Grateful Dead Records label. When the LP hit shelves in September of 1975, the Dead were still not back on the road – although they had played a few gigs throughout San Francisco. Obviously, the time off had done the band worlds of good, as Blues for Allah – more than any past or future studio album – captures the Dead at their most natural and inspired. The opening combo of "Help on the Way," "Slipknot!," and "Franklin's Tower" is a multifaceted suite, owing as much to Miles Davis circa the E.S.P. album as to anything The Grateful Dead had been associated with. "Slipknot!" contains chord changes, progressions, and time signatures which become musical riddles for the band to solve – which they do in the form of "Franklin's Tower." Another highly evolved piece is the rarely performed "King Solomon's Marbles," an instrumental that spotlights, among other things, Keith Godchaux's tastefully unrestrained Fender Rhodes finger work displaying more than just a tinge of Herbie Hancock inspiration. These more aggressive works contrast the delicate musical and lyrical haiku on "Crazy Fingers" containing some of lyricist Robert Hunter's finest and most beautifully arranged verbal images for the band. Weir's guitar solo in "Sage & Spirit" is based on one of his warm-up fingering exercises. Without a doubt, this is one of Weir's finest moments. The light acoustic melody is tinged with an equally beautiful arrangement. While there is definite merit in Blues for Allah's title suite, the subdued chant-like vocals and meandering melody seems incongruous when compared to the remainder of this thoroughly solid effort.

by Lindsay Planer, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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It is generally agreed that the Grateful Dead's late-'70s studio releases left even the most enthusiastic Deadheads longing for something more. The theory is that the band's momentum is best experienced during the ebb and flow of a live performance rather than the somewhat clinical tedium of a recording studio. Terrapin Station marks several milestones for the Grateful Dead: it was the band's first studio album in two years, as well as their return to a major label – in this case Arista Records. More significant however is the use of an outside (read: non-Grateful Dead) producer. This was only the second time in which the Dead did not seize complete control. And the first time in a decade that they would relinquish their production reigns. They chose Keith Olsen – a former member of the '60s garage rock band Music Machine – whose production roster also included other Bay Area notables including the Sons of Champlin and Santana. Musically, Terrapin Station offers a few choice glimpses of the band doing what it does best. While the most prominent example is the album's extended title suite, there are a few others such as the cover of the Rev. Gary Davis gospel-blues "Samson and Delilah" and a resurrection of the Martha & the Vandellas hit "Dancin' in the Streets." The latter tune was originally performed by the Dead in their mid-'60s repertoire. What was once a garage rock and psychedelic reading has evolved into a 4/4-time, brass-influenced disco arrangement. Luckily, their extended versions during concert performances were infinitely more tolerable. Parties interested in examining the contrast between the studio and live performance versions of Terrapin Station material should seek the archival concert release Dick's Picks, Vol. 3. This two-disc set not only captures the band exactly two months and two days prior to the release of Terrapin Station, it also features stellar performances of every track from the album sans the up-tempo rocker "Passenger."

by Lindsay Planer, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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Since the Grateful Dead were notorious for recording awkward studio albums, it always seemed that the answer to their problem was simply getting the right producer to coax magic out of the band – and nobody would seem better suited for the position than Little Feat leader Lowell George, whose own band shared the Dead's tendency to wander and jam in a live setting, yet made almost nothing but good studio records. But 1978 was not a great year for either camp, as the Dead were drifting in their attempts to score a crossover hit for Clive Davis' Arista Records, while George was pushing Little Feat toward disbandment as he was inching closer to his premature death in 1979. Add to that the Dead's sudden, inexplicable fascination with disco, a desire to have Donna Jean Godchaux be an integral part of the record, plus no new songs ready to go at the beginning of the sessions, and it's little surprise that Shakedown Street wound up as a mess. It rambles and wanders all over the place, as the Dead cover the Rascals' "Good Lovin'" before they revive "New Minglewood Blues" (which they originally cut for their debut), as Jerry Garcia and Robert Hunter write their own "Stagger Lee" while Mickey Hart and Bill Kreutzmann get a percussion workout on the brief instrumental "Serengetti" and Bob Weir affects a bluesy growl on "I Need a Miracle." In George's hands, this is all given a smooth gloss not all that far removed from such latter-day Feat LPs as The Last Record Album, but since the Dead favor hazy, lazy grooves to Feat's laid-back but tight New Orleans funk – and since George didn't produce so much as he created an appropriate atmosphere in the studio – Shakedown Street meanders mercilessly, and its indulgences wind up overwhelming the album as a whole. And there isn't just one kind of indulgence here; there's a plethora of them, ranging from the disco pulse of the title track to the fuzziness of the two songs sung by Donna Jean. This can make Shakedown Street a bit of a difficult, dated listen, since even the good songs boast bad arrangements ("Shakedown Street" and "Fire on the Mountain" were later reworked and revitalized in concert), yet it falls short of flat-out disaster, partially because it's a fascinating listen due to the very things that make it a severely flawed record. The disco flirtations, subdued funk, misguided commercial concessions, and overarching Californian slickness do make Shakedown Street fascinating for at least one spin, even if they'll keep even hardcore Deadheads – maybe especially hardcore Deadheads – from coming back to the record more than once every decade or so.

by Stephen Thomas Erlewine, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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Time has somewhat mellowed the general disdain that critics and Deadheads alike leveled at Go to Heaven upon its release in May of 1980. Granted, none of these readings come close to their perfunctory live counterparts. However, that argument holds true for a vast majority of the Dead's studio catalog – which had now grown to include 16 albums. Additionally, this disc marked the beginning of keyboardist Brent Mydland's tenure – who had joined the band in the spring of the previous year and would remain for a decade. All eight of the songs – not including "Antwerp's Placebo (The Plumber)," which is a 38-second instrumental percussion track – had either already worked their way into the Dead's live performance repertoire, or would in due time. These include "Althea," "Feel Like a Stranger," and "Saint of Circumstance," as well as the raucous rock & roll opening cut, "Alabama Getaway" – which was likewise often the band's opening number in concert during the early '80s. (In a somewhat Prankster-esque sense of irony, "Don't Ease Me In" – the disc's final number – also closed many a first set during this era; additionally notable about the track is that it was one of the first songs the band performed back in 1965 – when they were known as the Warlocks.) In terms of the quality of material, Go to Heaven includes few gems. Primary among them are Bob Weir's "Lost Sailor" and "Saint of Circumstance" pairing. While obviously not as thoroughly developed as it would become in concert, the lilting melody and fluctuating tempos are reminiscent of his "Weather Report Suite" from the 1973 release Wake of the Flood. The groovin' Jerry Garcia-sung ballad "Althea" is yet another example of a tune that would take on bolder and brighter hues as a concert staple for the remainder of the Dead's performance life.

by Lindsay Planer, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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In the fall of 1980, the Grateful Dead played a series of shows at the Warfield Theater in San Francisco and Radio City Music Hall in New York City (venues considerably smaller than they had grown accustomed to) for the purpose of filming and recording. The group opened these special concerts with a special acoustic set at which Jerry Garcia and Bob Weir played acoustic guitars, Brent Mydland played piano, and drummers Bill Kreutzmann and Mickey Hart played reduced kits. (Phil Lesh stuck to his electric bass, but at a modest volume.) Also special was the set list, as demonstrated by the track list on this album drawn from the shows. A batch of old folk and country tunes never before included on a Grateful Dead album make up half of the 16 songs, mixed in with originals. (And actually, three of those originals, "Cassidy," "To Lay Me Down," and "Bird Song," only appeared previously on Garcia or Weir solo albums.) The music deliberately harks back to a period most Deadheads weren't around for, the band's origins in the folk, bluegrass, and country groups Garcia led in Palo Alto, CA, in the early '60s, culminating in Mother McCree's Uptown Jug Champions, the band that went electric and became the Warlocks, renamed the Grateful Dead. Garcia in particular seems comfortable with this material, and he takes two-thirds of the lead vocals, with Weir spelling him every couple of tracks, usually with a song at least slightly more uptempo (although, for example, his version of "The Race Is On" has none of the breakneck pace of George Jones' original). Of the bandmembers, Garcia is the one who has shown the most affection for the Grateful Dead's folk and country roots, continually reintroducing them either with the band or in his side projects, and his ease with such selections as "Jack-A-Roe" and "Deep Elem Blues" is apparent. At the same time, the juxtaposition of such traditional material with originals by Garcia and his lyric partner Robert Hunter, such as the lead-off song, "Dire Wolf," and the closer, "Ripple," emphasizes the songwriters' deliberate effort to evoke and reshape the folk idiom in their compositions. The Grateful Dead have released numerous live albums, but this one takes a different approach, and it will appeal especially to the many fans of Workingman's Dead and American Beauty.

by William Ruhlmann, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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The Grateful Dead mined two separate double-album sets from their 15th anniversary shows at the Warfield Theater in San Francisco and Radio City Music Hall in New York City. Because of the special nature of these shows – which included the first acoustic sets that the band had played in almost a decade – Reckoning was taken from the unplugged performances, and this title was culled from the electric ones. These were the first live albums that the band had issued since the Steal Your Face debacle four years prior, as well as the earliest to feature Brent Mydland (keyboards). More so than any previous live Grateful Dead album, Dead Set attempts to simulate a typical Dead concert – including a somewhat abbreviated percussion solo ("drums") and free-form instrumental ("space") section. However, because the album is compiled from a number of different concerts, there is not the firmly established continuity that a single performance provides. This was further compounded on domestic U.S. compact disc pressings – as the ("space") section was judiciously edited to enable the contents to fit onto a single CD. In 2000, a remastered edition was issued in Japan, and the original running order was restored and once again spread over two discs. The set list mixes older and more established favorites such as "Loser," "Candyman," and "Deal" with newer ones ("Fire on the Mountain," "Feel Like a Stranger," and the rarely performed Phil Lesh [bass] composition "Passenger.") Unfortunately, the time limitations inherent in vinyl prohibited the use of any extended improvisation or song couplings. The band also documented their October 31st show – at Radio City Music Hall – as a live closed-circuit television special. From that performance, the band's very first home video – also called Dead Set – was compiled, which includes a few of the acoustic performances as well.

by Lindsay Planer, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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The Grateful Dead's last lineup returned intact for In the Dark, an album that ironically thrust the band back into the spotlight on the strength of the band's lone Top 40 single, "Touch of Grey." Fans had long mused that the Dead's studio albums lacked the easygoing energy and natural flow of their live performances, and In the Dark does come close to capturing that lightning in a bottle. Jerry Garcia, who apparently had to relearn the guitar after a near-fatal illness, approaches his instrument recharged, while his voice (a beneficiary of the extended hiatus?) shows some of its original smoothness. Of his four songwriting collaborations with long-standing lyricist Robert Hunter, "Touch of Grey" is far and away the best. "When Push Comes to Shove" and "West L.A. Fadeaway" use familiar blues-based riffs that lack the pair's often-contagious chemistry, and "Black Muddy River" has one foot firmly stuck in mawkish MOR terrain (although Garcia can be dealt a free pass here in light of the song's real-life implications as an attempt to make his peace with the world). What pushes In the Dark past the band's also-rans are two terrific songs from Bob Weir and John Barlow, the cheerfully cranky "Hell in a Bucket" (co-written with Brent Mydland) and the cautionary tale "Throwing Stones." Rarely have Weir's songs sounded so effortless; punctuated by Garcia's guitar, they have more in common with the upbeat, flavorful sound of past Garcia/Hunter compositions than the pair's own work this time out (a rare case of role reversal). In the middle of it all is a country-rock song from Mydland, "Tons of Steel," that sounds oddly out of place. Although the album is unmistakable as the work of the Dead, much of it recalls the punchy, pungent production of Dire Straits' recent work. It's not the second coming of the Dead, but a more entertaining epilogue you couldn't ask for.

by Dave Connolly, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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Supposedly, the Dead had broken their studio jinx with In the Dark and finally learned how to make good albums without an audience in front of them. So why was this follow-up such a letdown? Perhaps because they hadn't taken seven years to write and perfect new material as they had with the previous album. The dominant songwriter here was keyboard player Brent Mydland (who died the following year), while the crucial songwriting team of Garcia and Hunter contributed only minor efforts. Chastened, the Dead once again retreated from studio work.

by William Ruhlmann, AMG

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Grateful Dead - Beyond Description 1973-1989 (2004) [12HDCD Box Set]

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