In retrospect, the Grateful Dead’s 1979 recruitment of the late Brent Mydland was the first in a series of purposeful steps the group took to reconfigure its band chemistry in the wake of Keith and Donna Godchaux’ departure. The live albums of the early Eighties, Dead Set, and Reckoning, offer early indications of the varied benefits they derived from the keyboardist/vocalist/songwriter’s presence (as does Crimson, White, and Indigo 7/7/89) (from late in the decade following Garcia’s recovery of his health).
Now, Volume 52 of the Dave’s Picks archival series documents the versatility, not to mention the solidarity Mydland brought to the group during his ten-year-plus-long tenure with the psychedelic warriors. The prominence of his organ playing on “Alabama Getaway” is an early instance of how the earthy sound of that instrument elevated some of the pedestrian material the Dead was writing, performing ,and recording at the time (in this case, 1980’s Go To Heaven LP).
Brent’s gusty background vocal also adorns a sprightly “Mexicali Blues.” Jerry Garcia’s Chuck Berry-derived guitar solos there–hearkening to later g selection of the rock and roll story-tellers “Around And Around”–supplies further distinction. As does the segue into the comparably witty “Greatest Story Ever Told;” as the Bob Weir/John Barlow songwriting team began to flourish around this time, their efforts were superior to their Garica/Hunter counterparts. at least when it comes to the latter’s modified blues “West LA Getaway”.
Likewise, “Hell In A Bucket” (the former pair’s collaboration with Mydland) makes for a very complementary piece juxtaposed as it is with “Dire Wolf” off Workingman’s Dead. The snappy dual drumming of Bill Kreutzmann and Mickey Hart comes through with great clarity and presence in Dan Healy’s original recording (and Jeffrey Norman’s mastering likewise preserves such detail). At the same time, Phil Lesh’s bass is proportionate in the mix with his rhythm devil partners.
After proceeding apace in fleet fashion for most of disc one, “C.C. Rider” continues the downturn in energy begun by “Althea.” Thankfully, “Might As Well” belies its lackadaisical title as the band shuffles along at a good clip, effectively setting the stage for the “Help Is On The Way”>”Slipknot”>”Franklin’s Tower” triptych at the outset of the next interval.
More than sufficiently warmed up at this point, the Grateful Dead are clearly inspired to proceed on a massive adventure in and out of segues, including “Drums”>”Space” and the late entries of “Truckin'” and “Sugar Magnolia:” The sextet is hardly tired of such warhorses and thus sounds both electrified and electrifying.
Anyone who thought this archival series–or Dead Vault exhumations in general–were slipping into the doldrums in 2024 will be convinced otherwise by the time an approximately half-hour unfolds to conclude the third CD. Taken from the previous night at The Downs At Santa Fe, the Grateful Dead musicianship becomes increasingly informed with ingenuity and intensity. And, proceeding by leaps and bounds as the show(s) close, Brent Mydland’s acoustic and electric pianos glue together the alternately majestic and merry tones.
The graphic design of the package by Steve Vance (who also did the fanciful front cover art) is thus as vivid in its way as the music that comprises The Downs At Santa Fe, Santa Fe, NM 9/11/83. A twelve-page booklet of action shots and memorabilia within the triple-fold digipak also includes chief curator David Lemieux’s essay, the fond remembrances that constitute the finishing touch to Dave’s Picks Volume 52.
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Has anyone asked William Shatner about this?