By all means, it was clear that the bacchanalia of live Dead would reign on.Īnd now the revelry from this epoch, evidenced by the near-studio quality sound captured on two-track live recordings by Betty Cantor-Jackson, lives on, bolstered by Jeffrey Norman’s HDCD mastering. And there was comfort and joy in the familiarity of watching the band make it up as they went along. There was fresh repertoire from Blues For Allah, breathing new life to the Dead’s continually morphing sound – as Weir once said of the ’76 tour, they wanted to play “a little bit of all of it.” Old favorites were re-envisioned with cascading tempos and unique sequencing, making the crowd question if they’d ever heard these songs before. Jerry and Bob delivered orphic delight with solo musings like “Mission In The Rain” (the only tour they ever played it on), “The Wheel,” and “Cassidy,” emboldened by group effort. Donna Jean was in lock-step with the sirens’ call. It marked an Odysseusian-like return for Mickey Hart. Musically, June 1976 signaled a Golden Age of harmony and prosperity for the Dead. No more ticket scams and greedy promoters, they’d give back with first ever mail-order ticket program, one that had a few kinks to work out but eventually served the fans well. No more epic battles for the people with cops and lines and tightness, the Dead would return triumphant in smallness, playing intimate theaters and renting equipment along the way. The chorus lay in wait, pondering the reemergence of their heroes, and wondering if “THE LAST ONE” had really been it…īut in early 1976, Apollonian light and healing would shine upon our intrepid wanderers once again. From it spawned a Medusa head of countless side projects, all deliciously fruitful but woefully not the same as the whole. The Sisyphean Wall Of Sound had nearly broken the band. Studio Master, Official Digital Download | Front cover | © Grateful Dead Productions / Warner Musicĭuring the mid-1970s, the Grateful Dead saga was unfolding like a Greek classic.
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