Dark Star Illuminations: Uncovering Pigpen's Keyboard Magic

Deadhead Cannabis Show

"From Europe 1972 to Las Vegas Residency: The Music World Buzz"

On today's show Larry Mishkin discusses various topics related to music, particularly focusing on the Grateful Dead and their Europe 1972 tour. He shares personal anecdotes, insights, and analysis of specific songs from the tour, such as "Bertha" and "Mr. Charlie." Additionally, the he covers upcoming events in the music world, including Fish's residency in Las Vegas and an upcoming album honoring Stanley Mouse, a renowned psychedelic poster artist. He also mentions the charitable aspect of the album's release, aiming to provide preschool scholarships to underprivileged children. Larry concludes with a discussion of a specific performance of "Dark Star" from the Europe 1972 tour, highlighting Pigpen's rare involvement with the keyboard during the song.

Grateful Dead

April 8, 1972

Wembley Empire Pool

London

Grateful Dead Live at Wembley Empire Pool on 1972-04-08 : Free Borrow & Streaming : Internet Archive

Second show of Europe ’72 tour

INTRO: Bertha

Track # 1

0:00 – 1:22

SHOW No. 1: Mr. Charlie

Track # 3

:43 – 2:07

Pig/Hunter

"Charlie: white men regarded as oppressors of blacks.--used contemptuously. Also Mr. Charlie, Boss Charlie.

An article by John Cowley, "Shack Bullies and Levee Contractors: Bluesmen as Ethnographers," in The Journal of Folklore Research, vol. 28, nos. 2/3, pp. 135-162, recounts the story of the Lowrence family, a set of seven brothers, the oldest named Charley, who were notorious contractors of cheap labor, mostly African American, to build the levees alongside the Mississippi in the 1920's. A number of songs quoted in the article refer to "Mr Charley" specifically in this context, giving rise to speculation on the part of Alan Lomax that he may have "discovered the identity of the elusive "Mr. Charley." Cowley's article goes on, however, to quote a comment by Alan Dundes on Lomax' article that 'Mr. Charley' "would appear to date from antebellum times." But the repeated reference to a "Mr. Charley" by southern bluesmen was undoubtedly in reference to Charley Lowrence.

OR this is a song about heroin abuse. After McKernan died, the GD quit performing it. The "drums" apparently refer to a throbbing noise in the ears while in the throes of using heroin. The "shotgun" refers to a loaded syringe. Sad. Eurpoe '72 is, in my opinion, the quintessential GD album and McKernan really carries it. He died at the insanely early age of 23 or so.

Does not appear on any Dead studio album. Released on the original Europe ’72 album in 1972

Played 51 times

1st: July 31, 1971 at the Yale Bowl in New Haven CT

Last: May 26, 1972 at Lyceum Ballroom, London, England

SHOW No. 2: Dark Star

Track # 19

20:19 – 21:51

I love this clip. A very famous Dark Star, first on the tour, exchanged with The Other One each night as the long spacey and trippy tune in the midst of the mostly Americana Dead. Check out how pig’s organ makes an appearance. By that point, it was mostly Keith on the Grand piano, but this performance, and others on this tour, Pig jumps into the psychedelic mix with Keith. Very cool to hear that. After this tour, Pig was basically done.

When it comes to the early years of the Grateful Dead, it cannot be overstated just how important Ronald Charles McKernan - known as Pigpen to his friends and fans - was to the band.

In a perfect world, he would’ve been playing with them all the way up through the band’s conclusion after the death of Jerry Garcia, but instead things went a different way, with Pigpen’s unrelenting alcohol abuse resulting in hospitalization in August 1971, at which point doctors told him that he needed to stop touring, which he did...until he started again in December 1971. It didn’t last: Pigpen’s final show with the Grateful Dead took place on June 17, 1972 at the Hollywood Bowl in Los Angeles, after which he’s quoted as having said, “I don’t want you around when I die,” at which point he cut off all ties with his fellow band members. Unfortunately, he got his wish: his landlady was the one who found him dead on March 8, 1973, of a gastrointestinal hemorrhage.

SHOW No. 3: Sugar Magnolia

Track # 20

1:18 – 2:52

SHOW No. 4: Caution

Track #21

15:00 – 16:35

The lyrics, although simple, carry a profound message. The protagonist seeks guidance from a gypsy woman, hoping to find answers to their internal struggles. Asking, “What’s wrong with me?”, they are seeking a solution or a way to alleviate their pain. The gypsy woman tells them that all they need is a “mojo hand,” implying that a physical object has the power to change their fortunes and bring about well-being.

In African American folklore, a mojo hand refers to a magical charm or amulet believed to bring luck, protection, or power. By singing about a mojo hand, The Grateful Dead taps into the rich tapestry of blues and folk traditions, adding a touch of mysticism to the song.

“Caution (Do Not Stop on Tracks)” is a timeless piece of music that captures the essence of The Grateful Dead’s exploratory spirit. The song’s meaning goes beyond its surface-level interpretation, delving into deeper human desires for guidance and personal transformation.

For me, this song serves as a reminder that sometimes we must look beyond ourselves for answers or support. Whether it be through music, spirituality, or community, seeking solace in something greater can provide the strength and encouragement needed to navigate life’s challenges.

The Grateful Dead’s live rendition of “Caution (Do Not Stop on Tracks)” is a testament to the band’s unique ability to captivate and touch the souls of their listeners. It serves as a timeless reminder of the power of music to connect, inspire, and offer solace in all walks of life.

Anthem of the Sun is the second album by rock band the Grateful Dead, released in 1968 on Warner Bros/Seven Arts. It is the first album to feature second drummer Mickey Hart. The band was also joined by Tom Constanten, who contributed avant-gardeinstrumental and studio techniques influenced by composers John Cage and Karlheinz Stockhausen. The album was assembled through a collage-like editing approach helmed by members Jerry Garcia and Phil Lesh (along with soundman Dan Healy), in which disparate studio and live performance tapes were spliced together to create new hybrid recordings. The band also supplemented their performances with instruments such as prepared piano, kazoo, harpsichord, timpani, trumpet, and güiro. The result is an experimental studio amalgam that is neither a pure studio album nor a live album.

In 1972, a more commercial alternate mix of the album was officially released to capitalize on the band's recent success. A 2018 reissue on Rhino Records collects both the 1968 and 1972 mixes. The album was ranked number 288 on Rolling Stone magazine's list of the 500 greatest albums of all time, in both the 2003 and 2012 iterations of the list.[7][8] It was voted number 376 in Colin Larkin's All Time Top 1000 Albums.[9]

Played 71 times

1st:
November 3, 1965 at Mother's, San Francisco, CA, USA

Last: October 27, 1979 at Cape Cod Coliseum, South Yarmouth, MA, USA

OUTRO: Saturday Night

Track # 22

2:08 – 3:56

From ACE

Ace is an album by Grateful Dead singer and guitarist Bob Weir. His first solo album, it was released in 1972. Weir's fellow bandmates in the Grateful Dead back him on the album, and all but one of the songs became staples of the band's live shows

Great song. In later years, only on Saturdays, but in the beginning, it would be played whenever Bob was in the mood.

Usually an encore, but every now and then a second set closer or once as an opener. Since we knew on a Saturday they would play the song, the game was to guess when. Encore was almost always the sure winner, except when it wasn’t.

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