The Grateful Dead, a band heavily recognized for their drug connections and live show. Which is exactly true, sadly enough. Of course there is nothing wrong with the great live show, but the drug connection is almost a gimmick. But yet irrelevant at this time. The Grateful Dead, since their days as The Warlocks out of Palo Alto/San Francisco , they had been praised by new listeners and fans for their live performances. Though the band would not go as far as breaking their instruments during the show, or even adding major pyrotechnics, they had a very original act that had yet to be seen in Rock ‘n’ Roll.
During their beginning, they would play at parties known as Acid Test. “Acid Tests” were parties based upon the usage of the psychedelic drug, Acid or LSD. The parties were mainly held in the San Francisco, Haight/Ashbury area. The parties where mainly held by famous author, and leader of “The Merry Pranksters” Ken Kesey (One Flew Over the Cuckoo’s Nest), and the “King of Acid”, chemist Owsley Stanley. When the two would form an illegal gathering of the youth to use drugs, they would usually hold it at a pizza parlor, known as The Beat Club. Being that at the time Stanley knew The Warlocks (Soon known as The Grateful Dead), he would invite them to play. Even they would play while tripping on the drug. The is merely one reason why they are original on the stage. Another large reason would surly be they improvisation. To many, they were the first band to connect Jazz’s jam style, with the Rock ‘n’ Roll sound. The band would also be known as the first Rock band to encourage bootlegging at their shows. Though the previous two weren’t completely original (Jazz had been known for jamming. And Bluegrass was known for bootlegging), they were in the eyes of the current youth. And certainly original in the current fad, Rock music.
Go to Heaven, to me, is a mediocre album. It contains few great tracks, but few bad tracks. But unlike some of The Dead’s previous releases, but similar to some, many of its songs are fabulous live tunes. “Alabama Getaway” can not be anymore exciting on the stage. And “Althea” is also a delight to listen to. In fact, before this album was recorded, almost each song was a common live performance. Through the past, The Grateful Dead have had occasionally been able to transfer their live style to record. It is just too bad that, this would be a sad exception. There is only one real highlight. Which would be, the upbeat, traditional closer, “Don’t Ease Me In”. Which I have been a fan of since I first owned this album.
Alabama Getaway
This opener is one of several great live tracks, that aren’t to great on record. The albums version of “Alabama Getaway” is a more generic, simple formulized, Hard Rock song. Doesn’t sound that exciting? Well, it really isn’t. The guitar playing strongly resembles the playing of Chuck Berry. Who was actually a large influence on The Grateful Dead. The song’s lyrics speak about a boy named “Alabama” getting in some sort of trouble, and of course having to get away. The song isn’t that bad at all, but as I previously said, it’s nothing special. Garcia does give off a more unique and rhythmic solo though. Which adds to the track’s originality a bit.
Far From Me
Here is the first official Grateful Dead song written and sang by the late keyboardist Brent Mydland. Brent had just joined before Go to Heaven. Making this album, his Grateful Dead debut. Not to get into a life story, but prior to Keith Godchaux’s replacement, Brent played in Bob Weir’s solo effort. He would open the occasional Dead concert with Weir. Until, the rest of the boys decided he should play for them. Well, the song is nothing special once again. Brent’s voice isn’t as fantastic as it later would be, but it isn’t really bad. The main highlight to the track would have to be a variety of Jerry Garcia’s lead lines. They have a great tone, and are timed perfectly. That is about it.
Althea
Once again, another very strong live tune. Unfortunately, it is also once again nothing special on record. The song does harmonize well though. The flow of the rhythm section is fabulous. The lyrics are also quite good. It is loosely catchy, but isn’t annoying in anyway at all. Phil Lesh’s bass lines lead the song more so than any other instrument. The drumming sounds like it is only played by one drummer. Of course opposed to two drummers. Jerry does once again add in a pretty good solo, but nothing better than any of the previous ones. Overall, it is just not exciting.
Feel Like a Stranger
“Feel Like a Stranger” is a much odder track than the previous numbers. It is sang, and I’m guessing written by Bob Weir. Who can occasionally write an amazing song, but can just as easily make a terrible one. Here’s a terrible one for you. It is incredibly cheesy. There are various silly vocal effects, especially on the background vocals during the chorus. Which sound like the vocals on “Fly Like an Eagle”. The song contains many very odd and random tempo changes also. There are very few good things I can mention about this track.
Lost Sailor
Another strange sounding Bob Weir track. Though it isn’t fabulous, the sound and lyrics at least match the theme. Instrumentally, the song is quite odd. Very odd timed xylophone work, and some strange, but nice lead guitar lines. The drumming is done pretty well though, and Bob’s voice does sound good. The song has a much different vibe, and it is filled with mystique. The bass lines are also quite good. It’s rarely hard for me to complain about the great bass playing of Phil Lesh. Truly one of the greatest bass players ever. The song is just OK, but it hardly sounds like The Grateful Dead, and is slightly boring.
Saint of Circumstance
Here is another odder track. The opening timing and flow is very weird. From there the song gets a little simple, but still slightly complex. Almost progressive, but it has a cheesy feel. It is another Bob Weir track. And this is most definitely his most inconsistent album to date. He has yet to give out one good song on
Go to Heaven. The drum beat to this song is quite powerful, and certainly only does good for this song and album. But this song is just too weird. And once again, doesn’t not sound like anything The Grateful Dead would released.
Antwerp’s Placebo (The Plumber)
This filler is much to short to rate. It only runs at a mere thirty nine seconds, and is a waist of time to listen to. It contains little percussion, and then quickly leads into the on coming song.
Easy to Love You
“Easy to Love You” opens with a very powerful beat. One that resembles “Get up, Stand up” by The Wailers, or the Law & Order theme music. But the song quickly strides away from that feel, and makes its way to a more lighter song. Though, it will revisit the sound during different sections. This almost highlight of a song, is written and sang by Brent Mydland. He does quite a good job. The instruments harmonize very well, and Brent’s voice cannot sound any better than it does. There are very few things to complain about on this track. It isn’t that exciting, but none the less is fine otherwise.
Don’t Ease Me In
Finally, the highlight! This upbeat traditional number is one of the only reasons why I keep listening to this album. Luckily, Jerry Garcia does sing the song, and does a fabulous job. His attitude is spot on, and directly proportional to the lyrical emotion that one such as myself can infer. He also does a very good job with the lead guitar lines. The tone is similar to some other known Grateful Dead tracks. One being “Touch of Grey” off of
In the Dark. Other than the first verse, the highlight of this highlight song would definitely have to be the chorus. The vocals are stacked (recording technique) perfectly, and each members plays great. Favorite song on the album, and surely one of my favorite Grateful Dead songs. Also, very underrated.
2.2/5
Well, I’m pretty sure that is it for The Grateful Dead studio albums :upset:. Now, I just may be onto the live albums or possibly some of the solo albums :D.
Band
Jerry Garcia - Lead Guitar
Bob Weir - Rhythm Guitar
Phil Lesh - Bass
Mickey Hart - Drums
Billy Kreutzmann - Drums
Brent Mydland - Keyboard
