May 8, 1977 represents a significant moment in the Grateful Dead's history and ultimate legacy.
There has been so much written about the Grateful Dead's performance on May 8, 1977, at Cornell University's Barton Hall. There's a book (a fun read, for what it's worth). There's a mini-documentary. There are endless online threads where communities debate the shows legacy and importance.
This show is considered by some to be the best concert from the Dead's 30-year career. Others think it's overrated, just another good night in a run of good shows during the spring '77 tour. Personally, I'm not really into ranking shows. It's fun, for sure. But, there's not much weight to them. I prefer to compare setlist's, as well as the intricacies and patterns from a tour or year.
The same applies for Cornell '77.
I'll say this, this is a personal top-3 show of the spring '77 run. The other two contenders are the Sportatorium (5-22-77) and the Palladium (4-30-77). There are so many things to like about the Cornell show. One could make the argument that the group played the definitive live versions of four or five different songs (specifics to come). The Dead in this period were playing tight, inspired and creatively. The quality of the soundboard recording is truly remarkable, something that all music fans should be appreciative of.
It's a fascinating period of the Grateful Dead to explore, too. It's hard to argue that 1977 as a whole is anything but one of the group's creative peak. The late 1980's and early 90's standout in different ways. The group was well-rested after reduced touring schedules in 1975 and '76. They were fresh, playing new material for their upcoming album, Terrapin Station and producing a new, unique sound.
With all of this being said, lets look at some of the highlights of a truly well-rounded and highly enjoyable Dead show (in order of appearance).
*I'm just pointing out some of what I think are a few high points of the show. Be sure to listen to the entire show to get an appreciation of the whole thing and find which songs you like the best. The entire night is fantastic.*
They Love Each Other
TLEO is a prime example of how the Dead were continually changing their sound from year to year. The studio version and earlier live versions (like this one) are uptempo and carry far different effects than the types we hear from ones like Cornell.
The things that standout on this track are Keith Godchaux's piano and Jerry Garcia's guitar solo, as well as Bob Weir's well-placed harmonic notes. Keith's piano takes the extended spotlight before Garcia's solo with a light-hearted and jovial effect. This is quite different from the ensuing Garcia solo, one that is truly hypnotic and all over the fretboard.
There are a lot of great '77 TLEO's, but this version stands as my personal favorite from that spring. It's got everything you could want, as long as you like the slower performances. The groove is tight.
Row Jimmy
Garcia himself often cited 'Row Jimmy' as his personal favorite. One of the definitive versions of the song came at Cornell. An emotionally gripping performance, the song is taken to new heights.
Is it Garcia's slide guitar that makes the difference? Perhaps. His solos and leads tell a story. We're brought on a trip up and down, with highs and lows. He leaps up to higher notes on the fretboard that pierce through speakers.
Towards the end of his solo, Jerry kicks it up another notch, sending out notes all over the fretboard all conveying varying degrees of meaning. He makes it sound effortless, but it's definitely not as easy as it sounds on the recording. Garcia's vocals pair well with Donna Jean's in this one, too.
Scarlet Begonias > Fire on the Mountain
Whew. I could probably write an essay on what makes this pairing so magnificent. If someone is ever confused on what the Dead were able to do in a live setting, this is the example to show them. It checks off all the boxes. Seamless transition between songs? Check. Spacey, unique jams? Yes. Inspired vocal and guitar playing from Garcia, Weir and Lesh? Definitely.
Phil Lesh is a force in this version of Scarlet>Fire. He makes himself known early on, with fretboard-sprawling slides that give the song a funky, loose feeling (0:08 mark here). But, Lesh's bass are just a part of what make this combination of songs so good. The jam between both songs last approximately five to six minutes. In that space, the group works together to reach 'Fire on the Mountain.' Godchaux's piano is key here, as it marks the shift from one song to the next.
Once at FOTM, the band enters an entirely new space than that of Scarlet. The simple, two chord verse is the base for Garcia's mu-tron filter-effected guitar. Take note of Bill Kreutzmann and Mickey Hart's percussion work, too. They are working flawlessly with Lesh's catchy, repetitive bass line.
When it comes to Garcia's guitar solo in FOTM, I'd argue that it's among his best guitar work from all of 1977. It's a moment of true virtuosity - melodic, creative and powerful. Listen at the 15:40 mark to the notes he places and how they line up with the bass and drums. It's bliss. He also goes nuts high on the fretboard in his second solo, a hint of what was to come in later songs through the night.
A lot of fans debate this shows place in history. What a lot of fans don't debate is this Scarlet>Fire's place in Dead lore.
(Note: The solo in Scarlet is also very good).
St.Stephen>Not Fade Away>St.Stephen
The second set of this show is a phenomenal one. Closed out by St.Stephen, Not Fade Away, and St.Stephen again (before Dew), the show is left off with a bang. Some will argue there are better versions of 'St.Stephen' from spring '77. There certainly are other great ones, though this one is near the top for me. It's just smooth.
Krueztmann and Hart drive a light, smooth rhythm, one that effect everyone else. Garcia's lead guitar shines, with luscious, beautifully put together phrases and melodies. The clean transition to 'Not Fade Away' is thrilling. The jams that take place are chaotic and examples of the different roles Garcia's guitar and Weir's rhythm work.
Morning Dew
I'd argue that this is the pinnacle of the entire show. It was the final song played (not counting the One More Saturday Night encore), and a true emotional journey.
'Morning Dew' describes a post-apocalyptic scenario where humanity has vanished and the speaker is left to reflect on the aftermath. Arguably no other live version of Dew captured the story so passionately and ferociously. From the opening chord, the audience and listener are introduced to a story, one that Jerry leads the telling of.
The entire performance lasts just over 14 minutes. In that time, the Grateful Dead tell the story of the post-apocalyptic world through triumphs and crashes through music. There are so many long stretches of space, emotional peaks and falls, that this song can leave the listener in stunned in pure awe.
The final peaks in particular are gripping and thrilling, if not emotionally exhausting.
Reach the 10 minute mark and you'll hear the group build towards a monumental crescendo. At the 11 mark, you'll feel as if everything is crashing down around you, and the world is coming to an end, much like the songs lyrics describe. At 11:45, everything spirals down as Garcia plays notes so high on the frets, so fast, that it quite literally seems hard to catch up. This moment of the song remains some of the most powerful music I've ever encountered.
To quote a user from headyversion.com, "life is a gift...this Dew should remind everyone of that fact."
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Conclusion and final thoughts
So, give the Cornell show a listen. See why it's regarded so highly among fans and see why there are many definitive versions of classic songs in the Dead's rich discography.
I find it pointless to label a show overrated. If one doesn't think a show is as good as others think, that's fine. All performances should be appreciated for the music and the differences from show to show. Cornell certainly has earned its place, with an official release, book and a place in the National Recording Registry of the Library of Congress. It's a great show in a great tour.
It captures a band at one of its artistic peaks, a band that crossed so many genres of popular American music. From 1977 on, the Dead were a mixed product. Garcia engaged in brutal drug addiction binges, his health declined and shows varied in quality. The late 1980's and early 90's were something of a renaissance for the Dead. They had a new sound, a new feel and new legacy.
1977, though, will always have a special place among Dead fans and the bands ultimate legacy. Never again was there such consistency from night to night. While the band would ultimately end up touring for 18 more years, 1977 was certainly a highlight in the groups 30-year span. Barton Hall serves as an excellent example of that '77 sound and what the Dead were capable of.
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Phil is currently a junior at Quinnipiac University where he studies advertising and integrated communications with a journalism minor. You can find him on twitter here.
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