Long before I knew who Duke Ellington was, I adored a Grateful Dead song vaguely named after one of his early hits. I was most attached to the Brent-era version on Without A Net: This is not the Dead at their absolute best. Jerry sounds like he’s about 95 years old, and some of those ..read more

The Dead recorded a bunch of rehearsals and jams while making Blues For Allah. John Hilgarth helpfully compiled and annotated them. A Reddit commenter pointed me to “Descent Into A Spacy Place”, which is farther out harmonically than the Dead usually get. I heard a lot of interesting ideas there, and I wanted to see ..read more

The Grateful Dead gave their fans a rich education in Americana through their choice of cover songs. My first exposure to Johnny Cash was almost certainly the Dead’s cover of “Big River.”  Johnny and the lead guitarist (I think Luther Perkins) are fingering in E, but the recording sounds in F, so I guess they ..read more

I am approaching my New School songwriting class differently this semester: rather than having students write songs in particular styles, I am having them write using particular forms and structures. For example, for the blues unit, they don’t have to write in a blues style, but they do have to use the twelve-bar blues form ..read more

In my last post, I transcribed Jerry Garcia’s solo on “Slipknot!” from Blues for Allah. Immediately after that solo comes another part of that tune that I love, a call and response between a repeated riff played by the full band and Phil Lesh’s bass. This eight bar section is a rare instance of the ..read more

A while back, I learned how to play the Dead’s epic suite of “Help On The Way” into “Slipknot!” into “Franklin’s Tower”. However, I skipped the jam, because I wanted to focus on the composed parts. But since this is apparently the Summer of Jerry for me, I thought it was time to work out ..read more

The Grateful Dead are most (in)famous for their collective improvisation. Sometimes that improvisation happened within the confines of a song: unstructured arrangements, solos, preset groove sections. Sometimes it happened during semi-composed transitions between the parts of a suite, like Help/Slip/Frank. The most exciting and unpredictable jams happened in transitions between songs, or just out of ..read more

The Grateful Dead sold a lot of concert tickets and a respectable number of albums, but it took them more than twenty years to have a top ten hit. When “Touch of Grey” broke out, it inspired a debate among the Deadheads: on the one hand, its popularity ruined the experience of going to shows ..read more

I got interested in tuning theory because of the blues. The first instrument I learned to play well was the harmonica, and an essential part of blues harmonica is bending notes to make them go flat. The same is true for blues guitar, though there you are bending notes sharp rather than flat. For several ..read more

What makes Jerry Garcia’s guitar style so magical? What makes a person like me slog through so much indifferent-to-terrible Grateful Dead music to hear it? Rather than try to understand the whole corpus at once, I think it makes more sense to zoom in on specific phrases and passages and see how they work. In a previous post, I examined a phrase from the studio version of “The Music Never Stopped”. In this post, I will look at the intro to “Eyes of the World” from 11/11/1973.  I’m not going to talk about “Eyes of the World” as a song; I’ll save that for another post. Instead, I’m only con ..read more