Customer Reviews

Grateful Dead (Skull & Roses)

5 star:		(24)
4 star:		(4)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

Many years have come and gone, and many records have come along by the Dead, especially with the Dick's Picks series of "official bootlegs." Some of those are fantastic (see my reviews of DP22 from 1968, DP16 from 1969, DP4 & DP8 from 1970, DP23 from 1972, and DP10 from 1977). But SKULL & ROSES still stands among the absolute best of all Dead live recordings! Every time I play it I think to myself "why have I been listening to anything else?" It has lost nothing to time, not to my ears. There is a lot of "first set" material here, the sort of songs the band would basically warm up with before launching off into cosmic jams, but they're all of high quality. On the original vinyl it was easy to deal with -- Sides 1 and 3 were the "first set" songs, and Sides 2 ("The Other One") and 4 ("Wharf Rat" and "Not Fade Away/Goin' Down the Road") were the jams. I played Side 3 less often than the others, but listening now, it sounds great. This makes great driving music, and nowadays that's how I'm most likely to hear it.

The highlights are the amazing jams -- "The Other One," the end of "Wharf Rat," and "Not Fade Away/Goin' Down the Road Feeling Bad," with one of those patented instrumental transitions from one to the other. Garcia's guitar throughout is just PERFECT, from his solos on "Bertha" right on through -- SKULL & ROSES definitely captures some of his best playing. The band sounds tight -- Mickey Hart had left, but Kreutzmann is right on it, you don't miss him at all. There are purists who want only entire shows (which is what many of the Dick's Picks are), and this patches together shows from Winterland, the Fillmore East and the Manhattan Center (no dates provided, though I know the Fillmore material overlaps with LADIES AND GENTLEMEN...). The solution is -- don't be a purist if you don't want to miss out!

See my complete lists of Dead recordings on this site for 1968/9 (PRANKSTERS & OTHER ONES), 1970-1972 (COSMIC COWBOYS), 1973/4 (EYES OF THE WORLD), and 1975-1977 (ESTIMATED PROPHETS).

At a mere 40, I was just a pup when I first saw the Grateful Dead in 1979 -- merely 8 years after this seminal recording. And it astounds me how little down-to-earth information about the band and its vibe has trickled down through the years. So let's shoot for some accurate accounting here in context with the time itself and, hopefully, a bit of the feeling of the band in its place. First of all, the Dead was at the high point of its American Music phase in which its members were reaching deep into the country, folk and bluegrass sources that influenced them.

They were touring in support of their breakthrough albums Workingman's Dead and American Beauty, which brought the band its first taste of Big Time success. Song selection is the clue here. Merle Haggard's "Mama Tried," John "Mama's & the Papa's" Phillips's "Me and My Uncle," and Kris Kristofferson's "Me and Bobby McGee" (Janis Joplin's radio hit was also a cover; Hee Haw's Roy Clark recorded it in 1969 by the way) were all country chart toppers within the past five years or so from the original 2-LP release of this album (which Deadheads used to call Skullf**k back in the day). Unlike cover songs like Chuck Berry's "Johnny B. Goode" and Buddy Holly's "Not Fade Away" and the extra-special bonus track "Oh Boy" plus the old-time standards "Goin Down The Road", which was a Woody Guthrie favorite and a staple of the Harry Smith Anthology of American Folk Music (a collection that served as the Rosetta Stone of American Roots music for Bob Dylan and many others), and the blues standard "Big Boss Man", the band members chose *contemporary* tunes from Nashville's hitmakers in homage to the musicians they admired most. This album is, in its own way, the Dead's "Will the Circle Be Unbroken."

Ironically, as a bunch of motley hippies making anti-establishment, anti-war, counter-cultural revolutionary mind-warping rock and roll, the GD were REVILED by the very country artists they were covering so lovingly at the time.

This is a live album with almost no annoying background noise from the audience. That alone would make it worth 5 stars. I don't know why there is a need to add in cheering on live albums. It doesn't have to be there. When a group is recorded live, there are specially arranged microphones to pick up the audience cheers. I don't need to hear an audience cheer to know what is good. It is like adding a laugh track to a TV show. I know what is funny.

Listening to this album, it is hard to believe it was recorded live, especially by the Grateful Dead. The sound quality is very good (but not perfect).

What is really amazing is the live performance of the Dead. It is crisp, tight and controlled. It is like they are playing in the studio, with retakes and overdubs. Even the 18 minute Other One sounds like it is under control. I love the long winded, rambling jams of the Dead, but this change of pace is also great.

The song selection and interpretation of the songs is great. There are a number of country songs from contemporary song writers of the time, like Merle Haggard. They are played in new and interesting ways (for that time). Then there are the longer songs, like Buddy Holly's Not Fade Away and the Other One. You can tell that the Other One was pulled out of a longer jam. It would be interesting to hear the entire piece.

Rhino records has done a wonderful job of remastering all of the original Warner Brothers Dead LP's. The original CD release was not bad, but here the sound is enchanced even more with HDCD. Each remastered CD contains extensive liner notes and bonus tracks, filling all 80 minutes of the CD length. Since the original album was 74 minutes long, there is not too much room for extras here. You get two short songs, one that sounds like it should have been included in the first place and one that doesn't. After a 55 minute blank spot, there is the original radio commercial for this album.

If you like American Beauty, and especially Workingman's Dead, you will like this one also. I think it is even better than those 2.

First, (by way of explanation) I'm not a Deadhead. That said, I love the group's first four albums! This one (#4), recorded in 1971, includes legendary performances like "Bertha" (check out Los Lobos' version on Deadicated), "Mama Tried", "Playing In The Band", "Me & My Uncle" and "Wharf Rat". The tracks were recorded live at either the Fillmore East, The Manhattan Center or The Winterland. That said, it isn't really a live album. It's a great recording of some now-classic GD/FM rock songs that admirably display the group's versatility and skill. I'm awestruck by Jerry G.'s superb guitar work (and can now understand why NYC punksters Television were called the "punk Grateful Dead"), not to mention the great drumming, bass and keyboards (let's not forget Bob Weir's rhythm licks). "I am on my bended knees" to quote a lyric from "Bertha". The HDCD remastering is full and warm without too much distortion or hiss while the brief liner notes provide decent information. If you've never purchased this (my first time!) make the effort. You'll be in for a real treat! It's a "must have" classic that showcases the group's "jam" side without going into "snooze after 5 minutes" mode! If you've always had "Grateful Dead (Skull & Bones)", revamp with this version! It brings out the group's nuances and shadings superbly! In a word: wow! A definite eye-opener!

I read somewhere that Jerry said this record epitomised what the Dead were all about. and after hearing it again ,re-mastered after all these years I agree .I had this on vinyl while living in London in the 70's(a double LP) I liked it then and I love it now . Jerry's guitar never sounded better (especially on the remaster -great job whoever is responsible )Song selection is what they were doing back then .This is the disc that has the famous , Buddy Holly's "Not Fade Away'' seguing into Woody Guthries' , "Goin Down The Road Feelin Bad" and the superb Big Railroad Blues(was that Gus Cannon's Jug Stompers?) .All tunes contain astounding band performances Kicking off with "Bertha" ,and Jerry's axe shines throughout . I would recommend this to anyone new to the Dead ,as a great place to start. This remastered version contains two extra tracks that could have been left off .. The Coasters' Im A Hog For You Baby,and Buddy Holly's Oh Boy! .. 'Hog' is the better of the two , but neither of these performances enhance the disc .. but, there again .. some Deadheads might be ecstatic that this extra material is on here.

In 1971, the hippie generation was dying down and with it, bands like Jefferson Airplane and rock palaces like Bill Graham's legendary Fillmore and Fillmore East. Some of the recordings on this album which I should say right now is phenominal music was recorded during the Grateful Dead's legendary 5 night final run at the Fillmore East on April 25-29, 1971. If you like this album, you would, like me, love the Grateful Dead's 4 disc set called "Ladies and Gentlemen...the Grateful Dead Live at the Fillmore East New York City April 1971." The only hippie band from San Fransisco that wasn't dying down was the Grateful Dead and the jams and songs on this album prove it. This is where songs like "Playing in the Band," "Me & My Uncle," and jams like the shortened form of the That's it for the Other One, simply called, "The Other One." This is one of the Dead's best albums and if you liked any of their best of albums, this classic is for you.

A billion joints were rolled on these album covers...
On my birthday in 1971, The Grateful Dead, released this double LP of some selected 1971 concerts. After this record, this band from San Francisco, {New York City, was already a Dead stronghold} would see the size and scope of their world, change greatly.

Now down to five players {Jerry, Bobby, Pigpen, Phil & Billy} the sound of the band was very different. And, after recording both: "Workingmans Dead" & "American Beauty" the live shows benefited from the addition of so many new and great tunes that became favorites almost from their first live versions onwards.

Not that 24 minute versions of: "Dark Star" would not be played any longer, {Dark Star, will always continue to evolve as a concert piece} but now the shows had some strong material that could be placed right next to the long spacy jams and soundscapes of 1968-69. "Bertha" sets the tone for this record, the band plays like a wildfire on this, and keeps it all together and focused. Jerry Garcia, is drawing more strength in his playing from using his Bluegrass and Country influences to take his performance to brand new places.

There is a wide scope of music performed on: "Grateful Dead". With Country, Blues & 50's Rock 'N' Roll presented, The Dead's appeal would expand it's audience base widely. By 1972, there were a lot of cowboy hats, seen inside Winterland, at: Dead/New Riders concerts!

With Merle Haggard and Kris Kristofferson songs in the rotation along with more great Blues gems that expanded Pigpen's role, {"Big Boss Man!} the boys had added many more tones and color to the show, and it took everything in a new direction. This record, is also the first call-out to the "Dead Heads" with the message included within.

This record is the "Bridge" between sixties GD and seventies GD, it is Pigpen's last great record and Jerry is stepping up and getting larger in taking over Pigpen's role here, {Bobby, would grow as well, later in the game.}

This record is where the rest of the world, {outside San Francisco & NYC} got on the bus. We had to share our band, with the rest of the world, after this record was released. Nothing was the same ever again, the local scene had just gone global because of: The Skull & Roses. Now the 1970's could begin properly.
This is my favorite record from the band.
FIVE STARS !!!

This album, Europe '72 and Live/Dead are all what I'd consider the "classic" live grateful dead albums, and this, along with those other two, should be in every serious Grateful Dead collection. This album introduced some indispensable songs into their catalog, namely Bertha, Wharf Rat, (one of my absolute all-time favorites) and Playing in the Band, as well as some great covers of Mama Tried, Me and My Uncle, and Big Railroad Blues that remained staples of the Dead's live shows for most of their career. Reason enough to own this, but the performances also stand up very well; the band culled some choice recordings from their spring '71 tour. I'm baffled by someone's comments that this album is "quite honestly boring." While it doesn't contain the wild improvisations of Live/Dead, to me there are many incredible moments, most notable being a long The Other One that contains some truly psychedelically inspired band interaction, and including a spirited drum solo by Kruetzman (that is not overly long) and some ferocious bass from Lesh. And i don't know how anyone can consider the not Fade Away > Goin' down the Road Feeling Bad sequence "boring" - it's some of the most straight up rock music you'll ever hear from this band. Take it from me, you can't be without this.

The Dead at their best. At this time they were a western cowboy band, at least that's how they sounded to me. Mostly covers of western rock classics, hard rocking, with amazing instrumentals. Also some meditative pieces with long instrumentals and developed themes- Warf Rat and The Other One, which is a long elaboration of part of "That's it for the Other One" honoring Neal Cassidy. I always loved the way they could connect two songs with an instrumental section- a great example on this album with "Not Fade Away" leading into "Going Down the Road Feeling Bad." Overall, a stunning album.

This IS the Best Grateful Dead Live album ever! I've listened to it thousands of times since 1972 & NEVER tire of it! The boys are really crankin' on this recording. If you want to know what the GD were all about then get it! GET IT NOW!!!!