February 14, 1968: Carousel Ballroom

Listen to this show.

    Unlike the previous shows we've been discussing, this show has been officially released as part of the Road Trips series back in 2009, one of many intermittent archival series done by the Grateful Dead as the long-lasting Dick's Picks series came to an end and before Dave's Picks officially took up the mantle. All of that is besides the point: clearly, Dave & Co. felt that this show was special enough for release, and they hit the nail on the head. By early 1968, the Grateful Dead that we know was coming more into view, and the magic of their jamming ability is evident throughout this entire set, but especially in the second half. Songs now bravely stretch to the ten-minute mark, the earlier vestiges of material that just wasn't working have been long gone, and what's left is the best material in all its psychedelic, hazy glory. There were good Dead shows before this one, but this may be the group's first fantastic show.

     One of a few songs that was kept from their early days was their reflective version of Bonnie Dobson's "Morning Dew," not a uncommon sight for the Dead throughout 1968 or 1969. Later versions would see the tempo slow and the mood of the song grow increasingly introspective, but this is a peppy version with a comfortable tempo. From the start, it's evident that the Dead are having a particularly good night: rolling drum fills, evocative organ licks from Pigpen, and a lively bass part from Phil Lesh throughout the track get things off to a great start. From there, they move into another common sight from the early Dead with a version of "Good Morning Little Schoolgirl." Admittedly, this ain't your humble author's favorite moment from their earlier shows, so I think it means something when I tell you that this is a particularly inspired version. What starts tense and mysterious builds throughout with Pigpen's usual rousing vocal ability and the gradually soaring energy of the group. Pay attention to Bobby's rhythm playing here: not only are his chords smooth, but his tone during Jerry's first solo is fantastic. Crispy and warm, and the perfect compliment to Jerry's attacking work.

    From there we have a very early "Dark Star" medley, going from the titular song to an early "China Cat Sunflower" into "The Eleven," pretty standard fare throughout early 1968. Lasting just six minutes, it's obviously not the same grandiose "Dark Star" that Deadheads would eventually come to praise, but there is still a mysterious, warm energy to this version, and Jerry's playing after the first verse at least hints at what could come by next year. The resemblance to the studio version of "Dark Star" is much more evident here than it would eventually become. Very interesting. The following "China Cat Sunflower" is presented in the song's original key of E, and may make for a better jamming vehicle than "Dark Star" did with its vamping energy and flourishing of all elements. Yet again, Jerry and Bob are crisp, but Phil's simultaneous work as melodist and bassist is especially great here. From here, a particularly primal "The Eleven" features some especially prominent organ work from Pigpen going out of the verse. Some parts of it feel a bit sloppy, but the driving nature of the song is evident, and it leads directly into "Turn On Your Lovelight," one of the definitive delivery vehicles for Pigpen's blues ability. While the following year would see "Lovelight" extending out beyond the thirty minute mark (sometimes even up to the forty minute mark), the lightning in this ten minute rendition makes for the perfect conclusion to the first set. You can hear a few people hollering during the percussive breakdown, and can you blame 'em?

    The second set opens with Jerry dedicating it to the late Neal Cassady before they begin, quickly moving into what is effectively the entire Anthem of the Sun album, down to running order. The opening "That's It For the Other One" medley has its lyrics complete at this point, and despite the whole thing lasting around 10 minutes, it doesn't make its power any less diminished. Following a gentle "Cryptical Envelopment," the resulting "Other One" section is downright fierce, made even moreso by the relentless groove of Bill and Mickey. The following reprise of "Cryptical" eventually winds down into the gentle opening guitar of "New Potato Caboose," accented nicely by Pigpen's organ and some lovely work from Phil. Seldom played by the Dead and retired after 1969, this version of the track is one of the best ever performed, tight and efficient. Bob's singing is particularly likable here, too. The song's ending jam is fittingly powerful, and brilliantly leads into the incredibly rare "Born Cross-Eyed," debuted earlier in January and retired just two months later in April. This is likely the best version of the song ever performed, and its similarly relentless in its groove to the earlier "Other One," fitting given how similar the two songs are. Hell, the main riff of "The Other One" is briefly referenced. It's a great moment, and frankly I wish they would've played it more. Space and noise take over from there, with Jerry's playing giving way to some pretty moments amidst the feedback. Eventually, the "Spanish Jam" emerges, led by snare rolls, shaker, and some fantastically warm chords from Bobby. This love letter to Miles Davis' Sketches from Spain is perhaps the greatest demonstration of just how far the band had come since their beginning. Compare this to the earlier taped Trouper's Hall jam from 3/25/66: "Spanish Jam" by comparison is so much more thematic, confident, explorative, and risky. It is also much more successful in this risk, and it results in one of the richest moments of the early Grateful Dead. 

    As we wind down into some bizarre noise and set chatter, we return in full force with "Alligator." Unfortunately, Pigpen's vocals are pretty low in the mix for most of the song, drowned out by the music around him. The ensuing drums is filled with a building variety of percussion instruments, with musical play taking over before they return to jamming. You'll find some of Jerry's best guitar work throughout the set right here, along with some of Phil's prettiest basswork. It's on a song like "Alligator" where you really see how special the interplay between Mickey and Bill was: the constant, relentless beat accented by small fills and other percussive instruments. We smoothly move from the end of "Alligator" right into the chaotic "Caution," a real showstopper on this night which still sees Jerry in attack mode as Phil keeps things hectic. The percussive breakdown eventually leads into some chugging playing from Jerry and some proper Phil bombs. In the tradition of any self-respecting early "Caution," the chaos only builds into the conclusion as noise and frantic drum punches take the reign into a particularly avant-garde bout of "Feedback," showing the Dead at their most deconstructed and abstract. This segment of "Alligator → Caution → Feedback" could easily be a show-stopper all on its own, but the Dead are a giving bunch. An encore of Wilson Pickett's "In the Midnight Hour" may as well be showboating: it's proud, efficient, and yet again shows Pigpen in proper form. The blues is still very alive in the Dead here, and the encore is well-earned. If you played a show that good, you'd want to keep goin'.

     From start to finish, the Dead waste no time at this Carousel Ballroom performance. Every song is packed with dynamic energy, ready to rise and crescendo before lowering down again at a minute's notice. The setlist is fantastic, the jamming is explorative and alive, and the band themselves are in top form throughout, playing and singing with a heightened awareness. If ever there was an on-night, this is one of 'em, and the result is an absolute treat of a show. It's certainly one of the best shows of 1968, if not the absolute best, and I'd go as far to say it's one of the best shows they ever played. The spirit of the Grateful Dead was truly alive in '68, and 2/14 proves it. Put it more simply: it fuckin' rocks.

Show Rating: ★★★★★

Thank you for reading, and I bid you goodnight.