![]() ![]() ![]() Rebellion is fun when you’re 15, but by the time you hit your thirties, rebellion in the form of mindlessly jeering at what other people love gets a bit tedious. The things I hated as a teenager-Catholicism, camping, sports, and the Grateful Dead-also were things that were important to the people who cared about me, including my parents, friends’ parents, and teachers. There is plenty of evidence that they also are cruel. It goes without saying that teenage girls lack maturity. Play “Sugar Magnolia” and they’d all start spinning. Sometimes, I’d be out in Berkeley at night, coming out of a punk show in some basement or garage, and I’d hear the tail end of a Dead set drifting down from the Greek, always, always, always with the same finale: “Sugar Magnolia.” My friends and I would start roaring with laughter at that “doo doo-doo” chorus, occasionally passing a pedestrian in tie dye or flowy skirts who couldn’t get a ticket, and we’d keep laughing as that person started his or her ridiculous spinning dance in middle of the street. East Bay punks were aggro and in your face about social justice, feminism, human rights Deadheads, in our eyes, were too stoned and obsessed with their god Jerry to care. I hated their noodly, shuffling music hated, in my nascent angry young feminist way, the glazed-eyed girls who swayed through those parking lots asking for change, and the “mamas” and “old ladies” minding the camp stove while 60-something-year-old Deadhead guys hit on my teenage friends by offering them tickets to shows.ĭeadheads were anathema to my chosen subculture of socially conscious punks. There was just one problem: I hated the Dead. In other words, being a Dead fan, for someone like me, would have been the easiest thing in the world. Like a lot of Bay Area Gen X kids, many of my friends’ parents were of the original generation Deadheads, with deep ties to the band and its mobile subculture, including a girl from my high school whose mother supplied enough acid to Dead parking lots to pay her kids’ private school tuition. Although few in number, his contributions to Europe '72 are among the most commanding not only of this release, but of his career.A special series on religion and culture produced in collaboration with the Office of Religious Life at the University of Southern California Sadly, this European jaunt would be the last of its kind to include the formidable talents and soul of founding member Ron "Pigpen" McKernan (organ/mouth harp/vocals), who was in increasingly fragile health. Since their last outing, the group had expanded to include the husband-and-wife team of Keith Godchaux (keyboards) and Donna Jean Godchaux (vocals). Among them are "China Cat Sunflower" - which was now indelibly linked to the longtime Dead cover "I Know You Rider" - as well as "Cumberland Blues," "Truckin'," "Sugar Magnolia," and "Morning Dew." With the additional album the band was able to again incorporate some of their exceedingly stretched-out instrumental improvisations - titled "Epilogue" and "Prelude" here. The band mixes a bevy of new material - such as "Ramble on Rose," "Jack Straw," "Tennessee Jed," "Brown-Eyed Woman," and "He's Gone" - with revisitations of back-catalog favorites. This collection is fashioned in much the same way as their previous release - which had also been a live multi-disc affair. The Grateful Dead commemorated their first extended European tour with an extravagant triple-LP set appropriately enough titled Europe '72.
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