The Grateful Dead straddled the line between rock and the improvisational nature of jazz, becoming famous for the long jams during their live shows. The band consisted of great musicians such as Jerry Garcia, Phil Lesh, Bill Kreutzmann, and Keith Godchaux. Starting as a psychedelic garage rock band in the 1960s, they transitioned heavily into a more rootsy, folky band who made use of the “Great American Songbook” like no other. Combining original material with well-known folk, such as pairing their spaced-out classic “China Cat Sunflower” with the blues standard “I Know You Rider” to blend seamlessly into each other every show. One of their best efforts was their concert in Veneta, Oregon, on Sunday, Aug. 27, 1972. Hot off the heels of their complicated but undoubtedly timeless tour of Europe, the Grateful Dead played a benefit concert in Veneta for the Springfield Creamery. This recording was highly bootlegged by fans who attended the concert, but a fully remastered version didn’t come out until 2013, when a documentary film about the show, and subsequent live album occurred.
Much of the Grateful Dead’s repertoire is documented. One staple that appears here is “Playing In The Band,” a song ironically fantasizing about the freedom of playing in a band. This version goes on for 20 minutes, showcasing lead vocalist Garcia’s classic soulful voice as the band enters a long jam session. However, if we’re talking about the height of improvisation, look no further than “Dark Star,” an original composition who’s original riffs and lyrics barely matter. The fairly short original song has been spun off into long epics, such as the version in this album going on for over 30 minutes, becoming completely free form, like the style of poem. The Grateful Dead make sure to give nods to famous gun-slinging, cowboy iconography, with songs such as the original “Mexicali Blues” and a cover of country artist Marty Robbins’ classic “El Paso.” The album reaches a climax where “Sunshine Daydream” gets its name, the welcoming “Sugar Magnolia.” I’ll be honest, when I heard the album version of this song, I didn’t like it too much. I thought it was a little too soft. Although, this version manages to tick all the right boxes. It’s a little harder rock, but still keeps a country feel. Everything feels grander, the rhythms feel like the relentless chugging of a train, until it suddenly ends, before picking back up with Garcia’s screeches, launching into one more epic solo.
The album was made for archival purposes, so it was not too much of a success, but that’s not what it’s meant to be. It’s a testament, more than anything, to the Grateful Dead’s success as a band, not to mention how it cultivated a massive community of “Deadheads” who followed the band. It’s essential, and it feels so free.