The Grateful Dead

10.19.1971 Northrop Auditorium, University of Minnesota
Minneapolis, Minnesota
1st Show of Fall 1971 Tour
Keith Godchaux's first show

The first show of the legendary Fall Tour of 1971, and of course, the even more legendary Fall 71 through Fall 74 run began in Minneapolis, at the University of Minnesota's glowing Northrop Auditorium. I actually attended the University of Minnesota, got an undergrad degree and two grad degrees from there. My alma mater. I even graduated twice at the Northrop Auditorium. And at each graduation, I thought long and hard about this show.

The first set starts with a stomping version of Bertha. Jerry's vocals are a bit harsh at times, but the song itself is exceptional. The pacing is quite brisk, and Jerry's solo reaches exceptional flavor. The band seemed quite pumped to start this tour.

Bobby's first tune was Me & My Uncle. This version was flawless, but stagnant as there was little flavor during the Jerry solo or the tempo changes.

Jerry next tests the waters with Sugaree. This version is quite tame and unnoteworthy (a trend that would continue until post 1974). Weir provides the highlight with some nice rhythm during the song portion. Jerry's solos are short and lack flavor.

Bobby's next choice is the cautious BIODTL. The pacing is brisk with strong Weir singing. The jam portion is interestingly split into three segments with Jerry soloing through its entirety in a non-exceptional manner. The format of this jam portion would change to two segments comprising a first Jerry solo followed by a second Keith solo during the Fall of 1972.

So far, except for Jerry's solo during Bertha, the Band was flexing its tightness muscle and ability to sprint through their tunes. But, the Band had yet to flex its flavor muscle and twist this barrage of songs into a Grateful Dead experience.

Cumberland was the vehicle to do so. This was a fantastic and purely exceptional version of Cumberland. The harmonies are nearly perfect, and the timings flawless. Jerry's solos soar as well. But what really transfers this version from above average to one of the finest I've heard is the clashing between Weir's consistent rhythm chops (chirps) and Jerry's exasperated progressions. Ultimately it leads to a delirious tone during the main jam very similar to the Europe 72 version.

Interestingly, this was the slowest played song of the night, suggesting that perhaps the increased pace was hindering the flavor ex-pressions. 

The speed increases next with Tennessee Jed (two Jerry tunes in a row). While the speed is obviously faster than it would be in less than 8 months, this version doesn't seem to suffer from the speed in the same manner as Ramblin' Rose. This Tennessee Jed was sassy and downright dirty with Jerry's squealing. The sped up Ramblin' sounded a bit out of place and disoriented. The Jerry licks inbetween the verses were quite flavored, and the main jam's finale reaches a nice crescendo that is just short of delirious (see, e.g., 7.18.1972 for delirious). Of note, this was perhaps the first tune where Keith stood out. His organ sound (similar to the 10.1.1971 version) added a degree of complete insanity that matches well with the overall feel of this tune, and during the main jam seemed to agitate Jerry.

Next is another change in tempo with Black Peter (three Jerry tunes in a row). This version is tight and the vocal climax well done, but the Jerry solo drags and is a bit standard. The Jerry solo just doesn't soar and fails to induce sorrow ala the 8.12.1972 version. Keith plays a funky organ on this version but doesn't quite stand out.

Jack Straw is next, and it is stomping. The pacing is slower than the new Jerry tunes and it allows the band to accentuate the chord changes and add flavors. The verses were in the well known format (unlike the Keith rehearsals from late September / early October 1971). But, Jerry still was not singing - which wouldn't happen until 5.10 or 11.1972. Jerry soars during the verses adding rhythmic flavor, and during the main jam the band smacks the chord changes with gusto. Considering this was the first live Jack Straw, the band nailed it in an exceptional manner.

Jerry keeps the increased pace alive with Big Railroad Blues. The entire band is really on during this version. In particular, note Keith's pounding of the piano during the solos, and Weir's thick as fog rhythmic chops. But, Jerry's two solos are very average and don't really amount to exceptional flavor (see, e.g., 10.19.1974 for a Big RR Blues with a lot of flavor).

Next is Brown Eyed Women. As with many of the other new tunes of this show, it is quite briskly paced. Jerry's solos are paced nicely, but with little flavor. Still, as with the other new tunes the energy is there and with time the band would slow it down.

Weir next provides a fast and muscle toned Mexicali. Weir's vocals are quite strong but Lesh's harmony is a bit hard to swallow at times. The music, as noted, is strong but a bit unremarkable as Jerry's noodling is not quite exceptional (see, again, 10.19.1974 for a stunningly exceptional Mexicali; in particular, note the Jerry solo and the tension that builds into final verse; why didn't that make the bonus material on the new Dead Movie?).

Next is the ever popular but somewhat tritely versed Comes A Time. The positioning of this song seems a bit awkward, but perhaps that is because I've become accustomed to hearing it late in a second set. Jerry provides the falsetto squeals of "empty cup" on this version. Mostly though, this version highlights that while Jerry's guitar stylings were emerging as legendary, his vocals were still quite nascent. At times Jerry's vocals on this version are downright bad, but his passion outshines the shortcoming. The guitar solo is a bit bland too, but the finale solo reaches a nice crescendo reminding the listener that this tune was here to stay. Better versions of this tune exist (see, e.g., 7.18.1972 out of one of the finest Dark Stars ever).

The following Playin' In The Band was still in its infancy compared to, for example, the 11.18.1972 massacre version. But, the band was truly maturing this tune into a jam based format. The space segment was still quite structured, but Jerry was starting to explore within the chord structure that yearned for a less contained jam. Indeed, Jerry's theme extended into a true space, but the rhythmic band seemed more attached to the chord structure. While its time would come, and this version can be cited for being downright frustrating due to its short length (the space is only 1:08), the exuberance during the song portion is catchy and reminds the listener that underneath this extremely important tune in Jerry's life was a catchy Weir tune. Obviously better versions of this exist (see, e.g., 2.10.1989), but this version ain't bad.

One More Saturday Night follows and it is pure electricity. Surely the band knew that this tune would last the test of time. Weir's singing is delirious at times, and Jerry's riffs are scalding. The addition of Keith adds an element that is convincing and suggests that this band was not just a brain-blitzed-on-acid band but indeed a band that could rip your feet off and replace them with dance shoes (on the wrong feet of course). Indeed, compared to a lot of late 1980s versions, this first ever version is markedly better. In my opinion, this is a tune meant to be intrusive and the pleasant 1990's versions just don't do it for me.

Jerry caps the set next with Casey Jones. Despite a flub during the song portion (Jerry messes up the "trouble ahead a lady in red" portion) this version steams along into a huge mass of momentum before it is over.

Truckin' has a nice pace and strut. The harmonies are a bit hard to swallow at times, but the band sounds in synch. Jerry's finale solo also has some nice moments but it is not quite stinking with flavor. Weir stands out providing a very pronounced rhythm. The jam lasts about 4 minutes and Jerry never really hits an extended period of exceptional jamming. Still, near the finale of the jam there is a sweet moment where Jerry slows his picking down and accentuates some notes and collapses into a spiral that leads back into the vocal reprise.

The band was improving dramatically compared to February and March of 1971. Indeed, the band was reinventing themselves.

Ramblin' Rose continues the onslaught of new tunes. The pacing is a bit brisk, but the energy abundant. Jerry's singing is a bit out of tune throughout the song. As the pacing slowed in the spring fall of 72, Jerry's singing would come around. Additionally, the structure of the song was different as Jerry had two guitar solos prior to the "goodbye mama and papa" segment.

Next is Bobby McGee. This version seems a bit forced. Weir's singing is a bit too strong at some points. Still, as with the Ramblin', this version is very tight. Jerry's solo is very well done, but his vocal harmony was a bit off at times. Just 11 months later the band would unleash perhaps the finest bobby mcgee on 9.28.1972.

Brokedown Palace is sweetly done. The harmonies are a bit wincing at times, but again the energy supercedes the flaws. The pacing is a bit fast compared to later versions.

Finally the band enters a jam tune (cf., Playin In The Band from set one - this clearly was not a jam PITB) with That's It For The Other One. The He Had To Die was a bit sloppy but well taken. The Other One starts with a tame first jam that is short lived. The second has the band in complete unison diving a layer deeper, but it too has little flavor from Jerry would couldn't seem to break from the typical Other One patterns. Finally, in the third jam Jerry stretched away from the band and generated an attacking pattern. Unfortunately, this too was very short lived as the band quickly dropped into the first verse. After the first verse the band gets a bit spooky with bizarre chords and note bendings that creates a psychedelic effect (such spaces would be immortalized during the Spring, Summer and Fall of 1972). The effect is a bit nascent here as the band doesn't sound too confident, but more surprised to be there. Jerry's noodlings have little flavor and the corresponding band doesn't quite match up either. Weir provides some very nice chord blasts, but the jam as a whole isn't quite exceptional. Eventually the sound gets a bit quiet and the band sounds lost. Lesh started familiar Other One patterns that the rest of the band quickly jumped on. The jam to the second verse had some steam but little flavor. The He Had To Die finale jam also had little flavor and seemed autopilotish. Keith had little presence throughout this jam. Overall, a pretty bland version of That's It For The Other One.

Wharf Rat is the prologue. Jerry's singing is a bit haggard at some points, but the song flows nicely. Weir's rhythmic chops stand out as Jerry provides little flavored jamming. A relatively typical Wharf Rat.

Sugar Magnolia is next and had a strong song portion with nice pacing. But, the SSDD instrumental had little Jerry flavor. Weir's voice trashing was interesting, but not enough to raise this from bland to exceptional.

Uncle John's Band is next. Lesh's harmonies are a bit too happy at times, but the song portion is very tight despite a few flubs. The main jam gains some steam with some nice Jerry progressions, but the transition back into the vocal reprise was flubbed. Of note, Kreutzman cooked on this version.

NFA is next, and Jerry's transition to GDTRFB is quite well done. Indeed, he provided distinctive note progressions that were interesting and caused the band to coalesce around his patterns. The final surge to GDTRFB is delayed causing a nice amassing of momentum. But, instead of steaming into GDTRFB, the band gets cute and delicately enters the transition. Weir actually throws in some Mexicali Blues patterns as well. While better than the majority of this second set, this NFA pails in comparison to, for example, 8.22.1972.

GDTRFB is well done. The only instrumental jam reaches very nice heights and speed, and was plugged by Billy. The singing is rambunctious and filled with screams. Jerry finally provided some flavor and the result was an exceptional version. This was to be the highlight of the second set.

NFA is reentered and is filled with screaming Weir, but, instead of picked Jerry notes (ala 12.10.1972 SSDD vocale finale), Jerry strums chords lending a tame feel.

The Second set fizzled in comparison as Jerry's improvisational flavor evaporated despite the Band providing a tight and creating backdrop. Highlight of the show was the Cumberland Blues, in my opinion. Keith's presence was not quite felt. 

Set 1: 7.6933
Set 2: 7.33181
Show: 7.51

Bertha. 8.0
Me & My Uncle. 7.25
Sugaree. 7.15
BIODTL. 7.25
Cumberland 9.15
Tennessee Jed 7.85
Black Peter 7.4
Jack Straw 8.15
Big RR Blues. 7.35
Brown Eyed Women. 7.35
Mexicali 7.25
Comes a time 7.25
PITB 7.5
OMSN 8.5
Casey Jones 8

Truckin 7.45
Ramblin' Rose 7.25
Bobby McGee 7.25
Brokedown Palace 7.25
TIFTOO 7.15
Wharf Rat 7.25
Sugar Magnolia 7.15
Uncle John's Band 7.15
NFA 7.4
GDTRFB 8
NFA 7.35
Rob Goetz ©