It was just incredible how fast those tunes fell together once they got on them.
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We were speculating on what the ghostly hound might turn out to be, and somehow the idea that maybe it was a Dire Wolf came up. Maybe it was even suggested in the story, I don't remember.
We thought Dire Wolves were great big beasts. Extinct now, it turns out they were quite small and ran in packs. But the idea of a great big wolf named Dire was enough to trigger a lyric. As I remember, I wrote the words quickly the next morning upon waking, in that hypnogogic state where deep-rooted associations meld together with no effort. Garcia set it later that afternoon.
I woke up and grabbed a pencil before I was entirely awake and wrote the whole song down. I think I managed to capture the quality of the dream by writing it down before I was wide awake. He took them and placed them aside without looking at them, continued watching TV. The old boy often needed jump-starting.
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Suddenly there's this monster, the dire wolf, and the guy is saying, 'Well, obviously you're going to come in, and why don't you pull up a chair and play some cards? The situation is the same as when a street dude, an up-against-the- Establishment guy, approaches the Establishment and says, 'We can coexist. Out there in a barren setting, stripped; there's no setting really, just blank white, and these characters in the middle of it. Every night I was conscious of that thing, and the refrain got to be so real to me: He continued to send letters with more threats over the next year, though his actual victims seem to have been few, and he eventually vanished.
Whether Hunter had a melody of his own in mind, Garcia promptly gave Dire Wolf a cheerful, perky folk-song setting, much simpler than the usual Dead song. He thought of it from the start as an acoustic tune, and as early performances would show, may have had trouble thinking of a band arrangement for it. How could the Dead play this little song? And how could such a short ditty fit into Dead shows without disappearing?
But one surprising development became clear in those months: The early Dead took pride in their dense, unapproachable songs like Caution or New Potato Caboose that no one could sing along to. You could whistle our songs. The electric side was so fun and so stimulating and so rewarding and so energetic, and then all of a sudden we were starting to explore the soft side of the GD.
And I thought, what a beautiful thing — acoustic guitars. It was cold out there in the electric, feedback GD world. He was into the magical thing of words, definitely far out, definitely amazing. Dire Wolf came when it was needed. Clearly the Dead were itching for new material.
Most of the Aoxomoxoa songs were being played live, but they still sought some more diversity in the sets, more traditional-sounding tunes. More than that, Garcia started immersing himself in country music styles. In May , Garcia started playing pedal steel with John Dawson. So he bought one and brought it back. I asked Jerry if I could come over to his house and listen to the steel guitar… I brought my guitar when I showed up so he would have something to accompany. I showed him a couple of tunes that I had been working on… Jerry set his steel up and accompanied what I was doing, building up his chops.
It was just the two of us — me on guitar and Jerry on pedal steel. It was the start of a turn that would take the Dead deeper into country music over the next few years. We used to go see those bands and think, "Gee, those guys are great. So we took kind of the Buck Owens approach on Workingman's Dead. Some of the songs in there are direct tributes to that style of music, although they're not real obvious But certainly there was a conscious decision.
And then that, of course, led Hunter and me into the gradual discovery process of crafting a song, putting a song together that is singable, that has the thing of being able to communicate at once at several levels, and that you can feel good about singing… Some songs wear well and some don't. You perform them a few times, their time is over, that's it.
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Others, the more you perform them the richer they get, the more resonant, until finally it doesn't matter what the words are about anymore… Country and western songs are so directly narrative, if you don't get the point the first time you play it, it's a failure. Casey Jones, like Dupree, was an actual character transformed into folk legend in the early 20th century. Chanced on it sometime later and thought it'd make a great hook to a song, which I then wrote. Garcia uses the studio opportunity to overdub himself with a snappy second guitar accompaniment, to see how it sounds.
He starts off the session with a 5-minute version where he runs through the verses twice, but this pales next to track 11, where he repeats all the verses five times in a mammoth minute rendition! It was a couple months later, in August, before the next new song emerged — this one a blues song written for Pigpen. So I sat down to write a blues a la Robert Johnson. I played it for Pigpen and he dug it, so he did it. Then when the whole band got a hold of it, it changed a bit, as they always do. I failed, but I got another kind of song.
By then, a new element was in play: As a result, some of these late-fall songs feature lots of trio singing. Did the others even know the song yet? Some moments of awkwardness when Garcia attempts to solo. Now Weir plays acoustic and sings, while Garcia plays pedal steel.
Folk Songs and Allusions to Folk Songs in the Repertoire of the Grateful Dead
Garcia still sings solo. Het is echter in een enkel geval mogelijk dat door omstandigheden de bezorging vertraagd is. Bezorgopties We bieden verschillende opties aan voor het bezorgen of ophalen van je bestelling. Welke opties voor jouw bestelling beschikbaar zijn, zie je bij het afronden van de bestelling.
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